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Class _| t I ^6 

Book, »W94- 



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COEOaGHT DEPOSrc 



PROBLEMS IN WOODWORK 

In Combination with Other Materials 

FOR 

ELEMENTARY MANUAL TRAINING 



EDWARD F. WORST 

Supervisor of Elementary Manual Training and 
Construction Work, Chicago Public Schools 







The Bruce Publishing Company 
milwaukee, wis. 



Copyright, 1917 

by 

Edward F. Worst 



28(918 



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INTRODUCTION 




^IHIS manual is designed as a guide to manual training teachers who believe that 

T 1 1 the object of education is the development of the child morally and mentally rather 
than the acquisition of skill, which so often is made the dominant feature in 
manual training. Not that the training to acquire skill should be neglected, 
but it should not be fostered at the ex])ense of the child's broad iniderstanding of nature 
and nature's laws. 

No set of models can express the manual training idea, noi- can any definite course of work 
be apiilicable to all the diverse conditions to be met with in one city, or even in one school; con- 
sequently, the exercises arc arranged merely as a basis from which to work. 

The fact that a variety of materials is used aids in bringing the work into closer relation 
with that of the grade teacher. 

This relationship tends to instill life into the work of the sho]), which should be considered 
as a school laboratory Avhere the A\ork of the classroom is to be more fully developed. 

The emphasis i)laced on the combination of materials gives a broader view of the subject 
of manual training. It broadens the child's liorizon so that he is capable of appreciating the 
unusual rather than the more common])lace problems so often imposed on i)upils of manual 
training. The problems suggested are presented in such a way that the trained teacher will 
have no difficulty to understand their construction. The fact that so much detail is omitted 
gives the teacher an oi)portunit,y to jiresent the detailed oi:)erations in his own way, thus making 
the work more individual. 

EDWARD F. WORST. 

Chicago, DccciiilxT 17, 1917. 



Table of Contents 



CHAPTER I 
PHUBLE.M.S IX WOODWORK — The .Squaring Up Process 

— Solitaire Game — Xino Men Morris — Ciiip Carving 

— Stationery Holders — Bird Houses — Tabourets — 
Slioe Polishing Stand — Costunicr — Telephone Table 
and Chair — Electric Luni]) — Floor Lamp — Folding 
Table — Writing Desk — Miscellaneous Problems. , . 



METAL AXD WOOD 

and Draw Pulls — Prol)leni; 



CHAPTER II 
Designs Ini- Hinge Tails, Escutcheons 



5(i-(i4 



CHAPTER III 
ASH SPLINT W(JKK~Trays and Baskets— Cutting Gauge 
— Cutting SpHnts — Making a Tray — Circular Basket 
— Making a Cover — Comliinations of \\'ood and Splint 
— Making a Screen — Problems (io-lOO 

CHAPTER IV 
CANE WEA\TXG— Origin and Use of Cane— Making a 
Fernery — Steps in Five-Ste]3 Caning — Binding — Trim- 
ming — Four-Step Caning — Problems — Caning an Old 
Chair 101-141 

CHAPTER V 
RUSH SEATIXG — \aiietics and Sources of Materials — 
Metliod of Wrajjping — Splicing Cord — Splicing and 
Twisting Rush — Stuffing Rush Seats — Wrapping a 
Rectangular Seat — Treatment of Irregular Shaped 
Seats — Problems 142-155 



CHAPTER VI p,^.,. 

HICKORY SPLINTS — The Splints — Making a Bending 

Form — Fitting Tenons — W^eaving — Problems. . . .loti-KU 

CHAPTER VII 
UPHOLSTERIXG — Simple Methods — Ui)h()lstering Chaii- 

Seats — Making Upholstered Cushions I(i5-17'2 

CHAPTER VIII 

ROUND AXD FLAT REED \M:A\TX(; - Single, Double, 

Triple and Quadruple Weaving — Making Mats — 

Beginning the Weave — 0\Trcasting — Constructing 

Borders — Pairing Weaves — Making Closed Borders 

— Miscellaneous Mats — Weaving Baskets — Shaping 
Baskets — Finishing the Top — Various Small Baskets 

— Alternate Method of Beginning a Basket — Large 
Baskets — Handles — Covering Pottery Forms — 
Covered Sandwich Plate — Covered ^■ase and Bowl — 
Melon Shaped Basket — Wood and Reed — Serving 

Tray — Foot Stools — Sewing Stands 173-211 



CHAPTER IX 

TEXTILi;S AXD WtJOD - Foot Stool 
Screen: 



Waste Basket — 
Danish and Swedish Looms 212-228 



APPENDIX 

LUMBER PRICE TABLES.. 



.229-239 



Problems in Woodwork 



CHAPTER I 



The Squaring Up Process 

The first stej) in the squaring up of a piece of 
stock, is to get something to work from and tliat is 
usually a face or the broadest and longest surface of 
the piece of stock. If the piece of stock has been 
surfaced by machine all that is necessary to do is 
to take a few fine shavings off the face so that the 
planer marks may be removed. If this is done care- 
fully and the board has not previously been warped, 
this is all that is necessary to get the face level. 
Mark this face with an "X." It is a wise plan not 
to give a beginner a warped or twisted piece of stock. 

The second step is to plane an edge level and 
square with the face just ])laned. Mark this 
edge "X." 

The third step is to plane an end square with 
both the face and edge marked "X." The fourth 
step is to mark the length with a rule, knife, and try 
square, and saw off all surplus stock I of an inch from 



this line. Then plane down to this line and square 
with both the face and edge marked "X." The hfth 
stej) is to gauge the width from the edge marked 
"X" and plane the other edge down to this line 
square with both the face and the ends marked "X." 
The last step is to gauge the thickness from the 
face marked "X" and plane the other face down to 
these gauged lines square with all edges and ends. 
Discourage the use of the pencil. 

Solitaire 

This game, as shown in No. 1, Fig. 3, is played 
by one person. Place 32 pegs on sticks, one in each 
hole leaving the center hole "A" vacant. Then jump 
over any peg into an emjity hole. Take away the 
peg which has been jumped. Repeat this operation 
until but one peg remains. The last jump must 
land the final peg in hole "A." Any peg may do 
jumjiing. Juni]) in a straight line only backward and 



forward and right and left. The jump must be over 
one peg only into an empty hole. All jumps must 
be made in one straight line. 

Nine Men Morris 

This game as shown in No. 2, Fig. 3, is played 
by two persons. Each ]ilayer has nine pegs. Player 
A puts a peg in any hole, then ])layer B puts one in 



any other hole. They alternate turns. Each tries 
to get as many rows of three as he can, and also to 
spoil as many of his oi)i)onent's rows as he can. The 
pegs when once set cannot be moved around. The 
rows may be either vertical, horizontal or on the slant. 

The one having the most rows of three wins 
the game. 




Fig. 1 — Working Drawing of Bread Board, Sixth Grade 




Fig. 2 — Working Drawing of Cake Boards, Sixth Grade 



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Fig. 3 — Working Drawing of Game Boards, Sixth Grade 




Fig. 4 — Working Drawing for Clothes Line Winder, Sixth Grade 




Fig. 5 — Working Drawing for Pen and Ink Stands. Sixth Grade 




Fig. 6 — Working Drawing of Flower and Tea Pot Stands, Sixth Grade 



Chip-Carvjng 

Chip-carviiig, sometimes called "peasant-carv- 
ing," is the development of the savage's delight in 
notching with a knife the wooden implements and 
objects of his daily use. As a home industry it has 
been most fully developed in Scandinavian countries 
by the peasants, during the long evenings of winter. 
As a means for the decoration of objects made by 
the manual training classes, chip-carving has been 
found very attractive to the pupils and has stimulated 
them to greater effort in the accurate making of the 
objects to be decorated, for no piece of work may be 
ornamented unless it is the product of the pupil's 
best effort. 

There can be no dispute as to the practical value 
of chip-carving in training the hand and eye to deftly 
use a simple tool, and in showing the artistic effects 
^^•hich may be obtained in the employment of geomet- 
rical drawing. The plates on chip-carving suggest 
appropriate borders for boxes, and tea-pot stands. 

Great care should be exercised in designing for 
chip-carving, for ninety ])er cent of the work done 



should never be i)ermitted. Avoid using the ordinary 
star shapes so often seen on boxes, match safes, and 
tea-pot stands. A simple border, carefully executed, 
is more attractive than the more elaborate forms. 
Designs for chii)-carving should always be carefully 
drawn with a shar]) i)encil, the ])ui)ils ])lanning their 
own designs. 

This involves an incidental teaching of the most 
elementary geometry. 

Chip-carving should be especially interesting to 
teachers of manual training. The fact that it is es- 
sentially a home craft makes it possible to provide 
profitable and attractive work to be pursued during 
the boy's leisure hours. 

Few tools are necessary. The tool known as the 
chip-carving knife is all that is needed by beginners. 

The work is not fatiguing and may be done on 
any kind of table, and makes little or no mess or litter. 

The numerous objects of home life which may 
be decorated at a small cost greatly enhance the 
pleasure of the work. 



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Plate I — Suggestions for Chip Carving Borders 




Plate II — Suggestions for Chip Carving Borders 



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Suggestions 

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STATIONARY HOLDtR 



Fig. 7 — Working Drawing and Suggestions for Designs of Ends of Stationery Holders, Sixth Grade 





Fig. 7A — Stationery Holders 



Stationery Holders 

The stationery holders as sliown in Fig. 7-A 
are most attractive and simple in construction. 
Any one of these exercises, as well as the ink stand 
shown in Fig. 5, gives good practice in construc- 
tions involving the use of the butt joint. In Fig. 
7-A the front and back pieces are nailed and glued 
to the bottom cross piece, the heads of the nails 
being sunk and the holes filled with filler. The 
exercise offers most excellent opi)ortunity for ap- 
l)lied design. In this case the spaces which may 
be stenciled are cut away. If stenciling is used 
the design should be outlined with a sloyd knife. 
This not only outlines the design but also prevents 
the color from spreading. Two different colors of 
stain may be used, or one stain may be used either 
on the design or the background, leaving the part 
not stained, natural. Any paint, cut in benzine 
or turpentine may be used in stenciling. When 
cut as above described it becomes a stain instead 
of a paint which destroys the grain of the wood. 

A simi)le chip carved border may be used in 
outlining the design. If the holder is constructed 
and left jierfectly plain as shown in the figure in 
the upi)er left hand corner, a calendar may be 
tacked or glued to the surface of the front piece, 
thus breaking up the space and serving a double 
puqiose. 



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DOLL CHAIR 



Fig. 8 — Working Drawing of Doll Chair, Sixth Grade 



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Fig. 9 — Working Drawing of Doll Bed, Sixth Grade 



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SINK DRAIN 



Fig. U —Working Drawing of Sink Drain, Sixth Grade 









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BTIEAD COOLING BOARD 



Fig. 12 — Working Drawing of Bread Cooling Board, Sixth Grade 



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HANGING BASKET 



Fig. 13 — Working Drawing of Hanging Basket, Sixth Grade 




Fig. 14 — Working Drawing of Clothes Line Winder, Sixth Grade 



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BIRD H0U5I1 



Fig. 15 — Working Drawing of Bird House, Sixth Grade 




Fig. 16 — Wren House 




Fig. 17— Book Trough 



Bird Houses 

The bird life of our nation should be a matter of 
concern to every one, since the birds are one of our 
nation's most valuable assets. The loss in the 
United States to crops, fruits, etc., from insects is 
estimated to exceed $800,000,000 each year. 

Birds are the chief destroyers of insects, and it 
is the duty and should be a pleasure to every man, 
woman and child to protect these valuable creatures 
and to encourage them to remain about our homes. 
The housing and feeding of birds is of national im- 
portance. The boys are interested in studying the 
life and habits of birds and they will do their share 
toward bird protection. The proper person to help 
the boys and girls to make houses to attract birds, 
is the teacher in charge of the shop. 

Great care should be exercised in constructing 
the houses so that they may be conveniently cleaned. 
The exterior of the house should be kept in the duller 
colors, as birds are more attracted to this kind of a 
house. Attention should also be given to the open- 
ings through which the birds enter. 

If the wren is desired the opening should not 
exceed a diameter of one inch, as shown in Figs. 15 
and 16. If the opening to a wren house is larger it 
attracts the English sparrows who are conceded by 
the United States Government to be destructive to 
our native song birds. 



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Fig. 18 — Working Drawing of Book Trough, Seventh Grade 



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ri-ATr, RACK 



Fig. 19 — Working Drawing of Plate Rack, Seventh Grade 



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Fig. 21 — Working Drawing of Candle Sticks, Seventh Grade 




Fig. 22 — Working Drawing of Tabouret, Seventh Grade 




The Tabouret 

The tabouret shown in Fig. 23 was made from 
the working drawing shown in Fig. 22. It is designed 
to be made in the seventh grade since the construc- 
tion involves no new joints or operations that are 
lieyond the capabiUties of the average seventh-grade 
l)oy. 

The only new jirocess in the making of this 
tabouret, that he has not already had, is the gluing 
up of the two or three pieces of stock that form the 
top. The gluing up of the top would perha])s be 
the best operation to do first, for it is the only difficult 
one in the construction of this tabouret. It might 
also be a good plan to have the boy dowel the joints 
of this top piece with two or three f " dowel pins; 
since it is his first attempt he may not make the 
joints as well as they might be made, and the dowels 
will prevent the top from coming apart later. 

He may next make the four legs, which will not 
be very difficult, the stock being one-(iuarter of an 
inch thick. Then the cross pieces are next recjuired. 
There is nothing about these that the boy has not 
already had, for he made half la]) joints whil(> in the 
sixth grade. 

The l)road or u])per cross pieces, which may be 
made instead of the single piece as shown in the 
drawing, may now be screwed to the top with Ij" 
number 8 flat head screws, into right ]iosition. 




Fig. 23A — Designs for Tabouret 



Tlio legs aro now screwed to the lower cross 
pieces and then to the iii)ix'r cross jjieces with f" 
number 6 round head blued screws. The lower cross 
piece may be made face u\-> instead of edge u]). 
This would prevent any warping that might occur 
in the legs, but would weaken the construction. 

This is a very attractive as well as a useful piece 
of fiu'niture when finished, since it may be used as a 
bed stand, a tea table or a plant stand. The dimen- 
sions of the tabouret suit all of these purposes. 

Few problems lend themselves more naturally 
to the applied arts than the tabouret. The pujnls 
study design but fail so often to make application of 
what they get, to j^roblems of the shop. 

Fig. 23-A shows a number of most interesting 
designs for tabourets. 

These may be sawed out or they may be stenciled 
in color, as was suggested for the stationery holders 
in Fig. 7-A. 

When designing use paper and scissors freely. 
Through the cutting of ])ai)er into various designs, 
the pupil gets a most excellent idea of the surface 
covered by his design. 

After the cutting, a careful design should lie 
drawn. The drawing is transferred by means of 
carbon i)a])er. 

Every teacher of manual training should aim to 
introduce as much a])plicd art into his shop problems 
as possible, taking care that what is used is good art. 




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SHOE. POLISHING STAND 



Fig. 24 — Working Drawing of Shoe Polishing Stand, Seventh Grade 



The Shoe Polishing Stand 

Fig. 24 shows the working ch-awing of a unique 
stand and Fig. 24-A shows the completed stand. It 
is very simple in construction and, though not a very 
beautiful piece of furniture, it is surely the most use- 
ful one that a boy can make. The joints are all butt 
joints glued and screwed together with 1^" number 
8 round head blued screws. The operations are the 
squaring ii]) of (hqilicate i)arts and a little sjxjke 




Fig. 24A— Shoe Polishing Stand 



shave work in forming the foot rest. The only new 
operation is the hanging of the door, which is not 
in this case very difficult. It will be noticed that 
the door is jiut on a slant so that it will stay closed 
without the aid of a catch. 

The feature of this shoe polishing stand over 
all others is the rollers at the sides of the foot rest. 
A cloth is i)assed under the rollers and over the toe 
of the shoe. Then, when one ])ulls uj) one end of 
the cloth with one hand and then the 
other end of the cloth with the other 
hand, the cloth passes back and forth 
across the shoe. With this arrange- 
ment one can stand almost erect while 
l)olishing one's shoes, while without the 
rollers one would have to stoop away 
down. 

Fig. 25 shows the working drawing 
of two sleds, both well within the raiige 
of a seventh-grade boy. 

In Fig. 26 is shown a working draw- 
ing of a community bird house for mar- 
tins. It contains fourteen separate rooms 
and is very simi)le in design and con- 
struction. A group of boys might make 
one for the school vard. 



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SLEDS 



Fig. 25 — Working Drawing of Sleds, Seventh Grade 



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Bl'RD H0U5E 



Fig. 26 — Working Drawing of Bird House, Seventh Grade 




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Fig. 27 — Working Drawing of Fly Trap, Seventh Grade 



Fig. 31 — Costumer 



The Costumer 

The Costumer shown in P'i^-. 31 is a very good 
beginning problem for an eighth-grade boy. It is a 
large piece of furniture to the boy, and one that he will 
take great interest in. It is a very useful article when 
finished, for there is no home in which it cannot find a 
place, either in the reception hall or bedroom. 

It would be best to square up the bottom cross 
pieces while they are in one piece and then cut them apart 
to their proper lengths. The bottoms of these cross 
pieces should be formed before the cross lap joint is 
made. The tenon should run through the cross pieces 
and made firm with a wedge. 

The braces are next made. A pattern should be 
made as a preliminary. This can be made of thin wood 
or heavy paper board. Then the four braces should be 
marked out on the piece of stock for the same as econom- 
ically as possible. They should then be sawed out with 
the turning saw and finished up with the spoke shave and 
file. There are several methods of fastening the braces 
to the i)ost and base. They may be nailed with finishing 
nails, the heads of the nails being sunk and the holes 
filled with filler. They may be doweled to the post 
and screwed on to the base, the screws being placed up 
through the bottom of the base. Or, they may be 
screwed on as shown in the drawing, the screw head 
being sunk and the holes filled with dowel ]:)ins or caps. 



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Choir to be made with Telephone SI< 



Fig. 32^Working Drawing of Chair, Eighth Grade 




Fig. 33 — Telephone Chair 




Fig. 34 — Telephone Table 



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TZLEFHONL TABLE 



Fig. 35 — Working Drawing of Telephone Table, Eighth Grade 




Telephone Table and Chair 

In Fig. 36 arc shown a telei)hone table and chair 
that are surely not to be classed with the ordinary 
tele])hone tables and chairs which we find on the 
market today; and yet there is nothing in the con- 
struction of either this table or chair that an eighth- 
grade boy cannot complete. 

Fig. 32 gives the working drawing of the chair, 
and Fig. 33 shows the completed chair. It may ])e 
made either with the mortise-and-tenon, or dowel- 
joint construction. If there is no band saw at hand 
the back legs of the chair can be made straight; and 
if there are no facilities for bending the upper back 
rail, that may be made straight.* The seat is of 
the slip seat construction. 

Fig. 34 shows the taljle made from the working 
drawing shown in Fig. 35. This maj' be made eithcM- 
the mortise-and-tenon, dowel, or the butt-and- 
screwed construction as shoAVn. The screw heads 
are sunk and wooden caj^s jilaced in the holes. 

Instead of hanging the unsightly telephone di- 
rectory on the table, it is placed in a little cabinet 
which is made by screwing in a bottom and hinging 
the front rail onto this bottom, as shown in Fig. 35. 
A i)lace is provided on the to]) of the talile for the 
telephone and next to it a place foi' a ])ad of ])a])(M'. 

•Concerning thr making cif :i forrii fnr lirntling siork. refer to iiar;ii:r;ipli 
"Making a Form," pages l.^fi-lriS. 



Fig. 36 — Telephone Table and Chair 




Electric Lamp 

Fig. 38 shows a very attractive little electric 
lamp, and Fig. 37 shows the working drawing from 
which it was made. The construction of the post 
may be a little beyond the ability of the average 
eighth-grade boy, in which case the design of the 
])ost should be changed or modified to come within 
the boy's capabilities. The rest of the construction 
of the lamp is very simple. 

The wiring of this lamp is very interesting to 
the boy, besides being very educating. To hold the 
socket, a hole is bored to fit, rather tightly, a 2^" 
piece of \" pipe. The pipe should project out of 
the toji of the post about \ of an inch and the socket 
should be screwed onto this projection. 

The wire frame of the lamji shade may be made 
by the boy, or he can buy it already made at any 
department store. The stretching and sewing on of 
the silk, braid, and fringe may lie done In- the girls 
in the sewing class of the school. There are no arms 
or projections necessary to hold the shade to the 
lamp, as the wire frame is made to set very firmh^ 
on the top of the lamp globe. 

The shade may be made a good deal cheaper by 
making it out of strawboard and any eheaj) fabric. 
In this case the boys can make their own designs for 
the shade. In either case a holder must be bought 
or made to hold the shade on the lamp globe. 



Fig. 38 — Electric Lamp 



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The Floor Lamp 

Since the floor lamp has become a part of the 
furnishings of the home, we have designed a very 
simple and inexpensive one, as shown in Fig. 40, 
which was made from the working drawing shown in 
Fig. 39, and which any eighth-grade boy can mak(> 
verj' easily. 

The i)ost tapers from 2h" at the base to 1^" at 
the top. It is fastened into the base with a through 
mortise and tenon joint, and wedged. The braces 
are then fastened on and, not only do they make 
the lamp more artistic, but they also make it more 
solid. 

The shade is made of strawboard, and is lined 
with an inexpensive fabric. A pattern of the sides 
must first be made, and then the sides may be cut. 
They are ])asted together with strips of bookbinders' 
cloth, and they are then ])asted or tacked to the 
blocks of wood at the top of the shade, as shown in 
the drawing. A k" hole is bored in the under side of 
this block, and a dowel pin is glued into it. A cor- 
responding hole is bored in the center of the top of 
the post. This is all that it is necessary to do to 
hold the shade on the lamp. 

The sockets are placed about six inches from 
the top of the ]wst, and any device may be used to 
fasten them to it. 



Fig. 40 — Floor Lamp 




Fig. 41 — Working Drawing of Folding Table, Eighth Grade 




Fig. 42— Folding Table 




Fig. 43 — Working Drawing of Writing Desk, Eighth Grade 




Fig. 44 — Writing Desk 



The Folding Table 

Fig. 41 shows the working drawing of a very 
simple and useful folding table, and Fig. 42 shows 
two of these folding tables, one oi)ened and the other 
closed. The feature of this folding tal)le is its com- 
pactness when closed. 

The details of construction are shown \ery 
clearly in the working drawing. Either the mortise- 
and-tenon oi- dowel construction may be used. 

The Writing Desk 

In Fig. 44 is shown a writing desk constructed 
on different lines from those of the ordinary tyi)e of 
writing desks. At the first glance it may seem to be 
beyond the average eighth grade boy's ability, but 
when closely analyzed the construction liecomes 
ver>' simple. 

To form the different shapes sliown one should 
use a band saw as there is a great deal of form work 
on this desk which cannot be done very accurately 
with a turning saw, by an eighth grade boy. 



CHAPTER II 



Metal and Wood 



Most teachers of manual training are agreed 
that flat metal work as a means of decoration has a 
legitimate place in the shops. The meager equi])- 
ment required to carry on the work places it ^^'ithin 
the reach of every shop in charge of teachers who 
wish to do the work. 

Through the introduction of metal, opportunity 
is given the boy to work in another medium, thus 
l:)roadening his experience. Among the problems 
which suggest themselves as being practical are tail 
hinges, drawer pulls, tray handles, escutcheons, 
plates for sconces, and an occasional shallow tray to 
be used with the umbrella rack as shown in Fig. 54, 
and the smoking stand, Fig. 51 and Fig. 52. 

The material and its use create a real necessity 
for work in design, which should be of vital interest 
to every teacher of manual training. 

In order to design intelligently, it is necessary 
to know something of the space at our disposal. It 
is the space which determines whether the applied 
metal shall be circular, square, or rectangular. 



When designing, use paper and scissors freely. 
The cutting leads to better drawing. When the 
drawing is completed, it is transferred to the metal. 
To do this, a piece of carbon paper is placed, black 
surface down, on the metal to be sawed. The design 
is placed on the carbon paper and traced. A tracing 
may be made on rice paper and pasted to the metal. 
The sawing is done with a metal saw, No. 2 or 3. 

The fact that the boys have had experience 
with the coping saw greatly simplifies the sawing of 
metal. With a pair of shears and pliers, a saw 
frame, a drill, metal saw blades No. 2 and 3, a 
sawing board, and a small clamp with which the 
board may be clamped to the edge of the table, 
and a couple of files, very interesting flat metal work 
may be done. 

The trays for umbrella racks require a few blocks 
^^'hich are gauged in such a way as to allow the metal 
to be shaped in the form of a shallow tray. The ex- 
ercises suggested in this chapter call for only the 
most simple work in metal. 




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Hinge Tail 








E.^3Cutcheons 



MUTAL WORK 



Fig. 45 — Designs for Work in Metal, Eighth Grade 



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Fig. 48 — Working Drawing of Candle Sconces, Seventh Grade 



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STATIONERY CASE, 



Fig. 49 — Working Drawing of Stationery Case, Seventh Grade 



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SMOKING STAND 



Fig. 50— Working Drawing of Smoking Stand, Eighth Grade 




Fig. 51 — Smoking Stand 




Fig. 52 — Smoking Stand 



CHAPTER III 



Ash Splint Work 



Indian splints are the products of oak and black 
ash, di'awu in long, shaving-like bands from logs, 
with the grain of the wood. Splint is a material 
very extensively used for basketry bj' the various 
Indian tribes living in the northern and the New 
England states, and various parts of Canada. 

Of late it has been used in the manufacture of 
furniture, in combination with various woods, much 
the same as willow, cane, pith cane, rushes, and 
hickory splints. It is a most attractive material used 
in this way, as it is inexi)ensive, easily handled, and 
easily dyed or stained to harmonize with the Avood 
used, and other furnishings of the room in which 
the finished article is to be placed. It has been 
found to stand the test of all possible conditions of 
climate and hard usage of the sun-beaten and fre- 
quently storm-swept piazzas, the furnace-heated 
living rooms,^the wind-swept seashore, and mountain 
bungalows. 

The splints, as found in the market, for basketry, 
trays, and furniture paneling, are in long, shaving- 
hke bands, varying in width from Ih" to 2", and 
often several yards long. They are furnished in three 



weights, — thin, medium, and heavy. Mention should 
be made at the time of purchase as to the weight 
desired. Very often the three weights are found in 
a single coil. This is very convenient in basketry, 
as the three weights are used in different i)arts of 
the same basket. In the retail markets of our large 
cities, the price is often as high as $1.60 i)er pound, 
thus making the work prohiliitive in elementary 
schools. On the other hand, when purchased directly 
from the producer, the price ranges from 30 to 40 
cents per ])ound. 

The exjiense of sweet grass, which is much used 
with splints in basketry, makes its use in most 
schools prohibitive. A three-strand braid of raffia 
makes a good substitute. In order to make the braid 
continuous, begin with strands of different lengths, 
thus allowing no two to run out at the same time. 
In adding a new strand, the end of the old strand 
and the beginning of the new are braided as one. 
This braiding affords a most pleasing occupation 
for the pupils who are to construct trays and baskets. 
It may be pursued at home, thus providing occu- 
jiation for many leisure hours. 



Trays and Baskets 

One of the great aims of manual training is to 
combine judgment, a purely mental function, and 
execution, a purely physical one. 

There seems to be no work so suited for com- 
bining the two from the beginning as basketry. 
The material varies so in texture that care and judg- 
ment are required in its manipulation, and so few 
tools are used that the hand must do all, or a greater 
part, of the work. 

In all teaching, the character of the work should 
be emphasized, rather than the intrinsic value of 
that which is produced. The aim should be to have 
work complete in all its parts, as to beauty of design 
and workmanship, and finished insofar as the com- 
pleted Avork coming from the pupil can show his in- 
tention, and evince careful and diligent work. 
The teacher should ncA'er hurry the different stages 
of the work faster than the jiupils can go. 

The Cutting Gauge 

The cutting of splints into desired widths is 
accomplished by the use of a gauge, as shown in 
Fig. 55. 

The httle points of steel which do the cutting 
are simply pieces of discarded watch springs, which 
may be obtained at any watch repair shop for the 
asking. The little knife-hke projections are filed 
after being placed. Each teacher should have 



several gauges for cutting dif^'erent widths. The 
distance between the points determines the width of 
the splint. The most used splints are |", I", and f". 

Cutting the Sphnts 

Press one end of the splint down upon the points, 
allo\\ing enough to extend beyond the edge of the 
gauge to make it possible for one to pull the splint 
while the other holds the gauge and guides the splint, 




Fig. 56 — Two Persons Cutting Splints 



Fig. 56. This may be done by one person, by hold- 
ing the gauge and strip in one hand and i^uUing 
with the other, Fig. 57. 

Making a Small Tray 

One of the simplest problems in splint work is 
the making of a tray. This involves the use of braid- 
ed raffia. The traj' should be 6" long, 4" wide, 
and about Ih" deep when finished. 

Using the gauge, cut strips f of an inch wide. 
Dip the splints into water before cutting. It is not 
necessary to allow them to soak, as in the case of 
reed. Cut seven strips, each ten inches long, and 




Fig. 57 — One Person Cutting Splints 

nine strips, eacli eight inciics long. Laj' the ten- 
inch strips in a horizontal ]iosition on the desk, and 
weave the eight-inch strii:)s across, as shown in Fig. 58. 
A little difficulty may be ex])erienced in weaving 
the first two strips. To aid in keeping a good shape, 
blocks of wood are used. The block may be made of 
soft wood, and squared up by the pupils taking shoj) 
work. Blocks of wood might be brought in from 
carpenter shops or new buildings in the process of 
construction. Tie the woven bottom to the blocks of 
wood as shown in Fig. 59, allowing the ends to 
project. The s])lints, slightly moist, are bent u]i- 
ward around the block, as shown in Fig. 60. It is 
just possible that the splints will be slightly cracked 



in the l)emling. This does not interfere .so long as 
no part falls away. 

The weaving with braidetl raffia is now begun 
and continued vmtil the weaving is as high as the 
block is thick. 

In the weaving of reed mats and bask(>ts, it was 
learned that in order to do continuous wea\'ing, — 
that is, to weave so the weaver i^asses under one spoke 
and over the next, there must be an uneven number 
of spokes. Each time the weaver passes around the 
tray or basket, a \)\aco is reached where it is neces- 
sary for the weaver to pass under two splints. The 
weaving is then continued, under and over, until 
the place is reached where it is again necessarj^ for 
the weaver to pass under two. This happens each 
time around. 

\"\lren the raffia weaving is finished, one striji 
of the splint I" wide is woven around the top. as 
shown in Fig. 60. Allow the end of this strip to 
weave under and over the same spokes as the begin- 
ning. This overlapping keeps the two ends together. 

Each spoke on the outside of the |" strip woven 
around the top, is cut pointed, as sho^^Tl in Fig. 61, 
turned to the inside, and slipped under the weaving. 
The other spokes are cut awa>' even ^A'ith the toji 
edge of the tray, as in Fig. 61. 

To finish the top edge, take another I" strip of 
the ash and about eight strands of raffia. Place the 




Figure 58. 




a_aM Q Q. Q^^-^ 




strip of ash on the inside of the tray along the to]3 
edge, the bunch of raffia to the outside, and with a 
darning needle threaded with raffia, overcast around 
the top so that the raffia and sjjlints are held in place 
by the overcasting, as shown in Fig. 62. The needle 
])asses between the spokes. 

The process, as above descriljcd, holds good in 
all s])lint work. 

To Make Small Circular Basket or Tray 

1st: With the use of the \" gauge, cut a num- 
ber of strips. 

2nd: Cut the i" strips into 12" lengths. 

3rd: To arrange the strips for weaving, allow 
two strips to cross, as shown in Fig. 63. Lay a third 
strip, as shown in Fig. 64. Place the first finger of 
the left hand at the point where the strips cross; 
continue to lay the strips until all have been placed 
(Fig. 65), raising the finger only to allow a strip to be 
placed. With the right hand, A\'eave a piece of raffia 
(single strand) around, (Fig. 66), going under and 
over as previously described. After two or three 
rounds, the strips hold together and the finger ma}' 
be removed. 

In circular weaving, there is an even number of 
ends. This makes it necessary to allow the weaver 
to pass under two strips each time around. After 
weaving around a few times with the single otrand, 
the braided raffia mav be introduced. 



The Indians, in making splint baskets, use 
forms around which the baskets are woven. Fig. 67 
shows a number of forms made in wood. 

After weaving the bottom of the circular basket, 
it may be tied to a circular form in wood, as shown 
in Fig. 68. The weaving may then be continued in 
either the braided raffia, or a narrow splint may be 
used for the weaver. In making smaU circular 
baskets, the Prang drawing blocks may be used. 

The top of the basket is finished by wea^•ing 
around twice, using the splint, as shown in the 
finished basket in Fig. 68. In binding the top, a 
strij) of the heaviest ash, j" wide, is placed at the 
top on the inside; and instead of overcasting with 
raffia, as in the tray, a strip |" wide of the lightest 
weight ash is used. No needle is required. The over- 
casting is done by running the |" stri]) between the 
spokes and over the top. This is plainly shown m 
the finished basket. Fig. 68. 

Fig. 69 shows a couple of work ])askets, one 
\\oven in sweet grass and the other in l)raided 
raffia. 

The basket shown in Fig. 68 is woven of l)raided 
rush, with a foundation of ash splints. 

Fig. 70 shows other interesting forms of baskets, 
hair receivers, hairpin holders, etc. 

In order that a greater number of spokes may 
be used as the foundation for a basket, thev are 




Fig. 66 -Weaving Single Strand 

often cut as shown in Fig. 71. This is done by 
moistening the splint, folding it into halves, and then 
cutting it with scissors. The spokes are then crossed, 
as shown in Fig. 72, and the weaving done the same 
as above described and shown in Figs. 66 and 68. 

To Make a Cover 

Proceed as when making a basket. When the 
weaving has reached a diameter sufficient to cover 
the opening in the basket, remove it from the ])lock 
and tie it to the top of the basket. 



The cover is finished by bending the spokes 
downward on the outside of the basket, and the weav- 
ing is completed. In this way the cover is bound 
to fit the basket. The cover of the basket is finished 
the same as the top of the tray. Figs. 69 and 70. 

Baskets the size of those shown in Fig. 69 should 
have foundation spokes from ^" to f " in width. 

Fig. 73 shows two interesting work baskets, one 
made of sweet grass and splint, and the other of 
raffia and splint. 




Fig. 67 — Wooden Forms 




and simple vipholstering in leather, hand-woven 
fabrics, and tapestry may be used in conjunction with 



Fig. 68 — Finished Basket, Roll of Splint, Basket Tied to Form 
Combination of Wood and Splints 

Wood alone is not sufficient for a course in 
elementary manual training. 

Under proper guidance, such materials as 
splints of ash, oak and hickory, cane, pith cane 
(flat reed), rushes, split and round reed, bits of metal, 





Fig. 69 — Finished Work Baskets 



wood, thus adding greatly to an appreciation of con- 
structive design so oft(Mi lacking in work done in 
manual training shops. If there is any doubt as to 
the commercial value of combined materials as 
above mentioned one need onl}' consult a salesman 
from any first class furniture establishment regard- 
ing prices. 

Figs. 74 and 75 show two simple weaves in 
paper which may readily be duplicated in splints. 
The diagonal weave in Fig. 74 is the one used in 




Fig. 70 — Other Forms of Baskets 



the ininels of the wastebasket shown in Fig. 79, 
and also the panels of the screen shown in Fig. 77; 
while the weave in Fig. 75 shows the pattern 
used in weaving the sides of the tabouret, shown 
in Fig. 83. It is well to have the members of a 
class doing this work first experiment in paper- 
weaving. 

If the pupils have pursued ijajier-weaving in 
the lower grades the knowledge there gained will 
serve them well at this time. If they are doing the 
work for the first time, the 
simi)licity of it and the rapidi- 
ty with which it can be done 
will greatly please them. 

Observe that in the diag- 
onal weave, Fig. 74, the weaver 
the first time across passes 
under two splints and then 
over two, etc. The second 
time across, the weaver passes 
under one, then over two and 
under two until across. The 
third time the weaver passes 
over two, then under two, un- 
til across. The fourth time 
across, the weaver passes over 
one, then under two, over 
two, etc. Th(> four above 



changes ai-e all that are necessary to produce the 
diagonal weave. 

Continue the weaving by ha\ing the fifth weaver 
the same as the first, the sixth the same as the 
second, the seventh the same as the third, and the 
eighth the same as the fourth. This ordei' is fol- 
lowed until the entire ]ianel is finished. 





Fig. 73 -Work Baskets 



To weave the pattern as shown in the tabouret, 
there must l)o an uneven number of \'ertical strips. 
Fig. 75. 

It will he observed that the weaver starts out 

by passing over two, under two, and then over three. 

This must be so because of the uneven number of 

vertical splints. The next weaver starts out 

by passing under one, over two, 

under two, and then over one, 

this being the center. 

The third weaver starts out 
by ]mssing under two, over two, 
and then under three. 

The fourth weaver passes 
over one, under two, over two, 
and under one. 

The four above changes are 
the only ones in the entire pat- 
tern. To continue, allow the 
fiftli weaver to follow the same 
course as the first one, etc. 

Observe that every other 
weaver passes either under or 
over three vertical strips. 

When the center of the 
panel is reached, the second 
half is just the reverse of the 
first. In other words, weave 




Fig. 74 — Diagonal Weave 



Fig. 75 Pattern Weave 



back^^•ard by allowing the first weave below the 
center to follow the same course as the one just 
above the center. 

The unfinished screen in Fig. 76 shows the vari- 
ous stages of the weaving. 

The material is moistened the same as when 
used in baskets. The strips used in the accompanying 
exercises are all cut ^" in width. To weave the panels 
in a screen, proceed as follows: 

1st: Cut strips. 

2nd : Tack the strips to the up])er cross-piece of 
the screen, as shown in the panel to the right (Fig. 
76) , allowing the strips to hang as shown in cut. Use 
1 oz. iron tacks. These may be purchased in the cur- 
tain section of any department or hardware store. 

3rd: Cut strips to be woven across about two 
inches longer than the distance across the panel. 
Begin to weave at the top, as shown in center panel. 
Fig. 76, and continue until the entire panel is com- 
pleted. The tacking at the bottom and sides should 
not be done until the splints have thoroughly dried. 

Before tacking, push the cross-pieces one by one 
as close together as possible. 

It will be found that owing to the drying out, 
considerable space will be left at the bottom. Weave 
in additional pieces to fill this space. 

4th: Before tacking, moisten all ends to be 
tacked to ]5revent splitting. Draw each vertical 



splint until it is perfectly tight, and then tack. 
Tack the strips doAvn one side. Draw the opposite 
ends until the weavers are tight and then tack. 
When completed, the panel will look like the one 
shown to the left, Fig. 76. 

Fig. 78 shows the finished screen with one-inch 
trim covering the tacked edges. 

Rabbet the trim about 1-32" in depth and f " 
in width. This makes it possible for the trim to 
fit the face of the panel perfectly. Fig. 77 shows 
the working drawing for the screen. 

Fig. 79 shows a finished waste basket. This is 
a problem easily constructed by pupils of the seventh 
grade. Fig. 80 shows the working drawing of the 
waste basket. 

The mitered strips which cover the tacked edges 
are only |" in thickness. The 1" trim might have 
been used the same as in other problems suggested. 

The working drawing for the basket shows 
nothing but butt joints. 

The panels for the basket are woven by tack- 
ing the strips to a drawing board. 

The weaving is done on the drawing board and 
is then transferred to the basket. 

This method of weaving panels is pursued in 
weaving for small openings. 

Fig. 81 shows a finished fireplace basket. The 
working drawing, Fig. 82, shows the simplicity of its 




Fig. 76 — Steps in Splint Weaving 




T 



,i.ll ot Malerjal ; 


N^ 


Name 




2 


S.dcb 


69 2i 1 J 1 


A 


Sides 


(i.T 


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iflS 


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i 


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■-■-■]! 



SCPnilN 



Fig. 77 — Working Drawing of Screen, Eighth Grade 



construction. The handle may be made of any wood 
that can be made to bend after soaking in warm 
water. 

Fig. 83 shows a finished tabouret made with the 
top hinged, thus making it possible for any house- 
keeper to store away a number of articles. This 
double use is quite worth considering, especiall.y to 
those living in small flats. 

Fig. 84 shows the working drawing for the 
tabouret. 

The stool shown in Fig. 85 is a little more dif- 
ficult in construction. 

Fig. 86 is the working drawing for the stool. 
The top of the stool is woven by tacking the strips 
along the inner edge of one end of the frame. When 
the weaving is completed, the opposite ends and 
sides are tacked to the inner edges of the frame. 
This frame just fits the stool by cutting the cor- 
ners, as shown in Fig. 86. 

The flower box shown in Fig. 87 makes a most 
attractive problem for the pupils of the eighth grade. 
The panels for this may be woven as suggested in 
the case of the tabouret and waste basket. 

Fig. 88 shows the working drawing for a plant 
box. A metal box is placed on the inside to prevent 
water from dripping. 

Fig. 89 shows a most interesting tea table which 
may be folded and placed in a remarkably small 




Fig. 79 — Waste Basket 



± 



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5plin( We^vir^ 






Bill of Material l| 


IM? Name 


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WASTr. DA5KI1T 



Fig. 80 — Working Drawing of Waste Basket, Seventh Grade 




Fig. 81 — Fireplace Basket 




■^- jffi?"^ftl4A.1p 




Fig. 83 — Tabouret 



6i ^ 





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Width 


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WOOD BASKE.T 



Fig. 82 — Working Drawing of Wood Basket, Eighth]^Grade 



f 



4H4- 



Bill o 


Mafenal 1 


NO 


Name 


Len,h 


Width 


Thick MCM 


4 


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lb 


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TABOURET 



Fig. 84 — Working Drawing of Tabouret, Eighth Grade 



space, as shown in Fi^. 90. The trays are woven of 
ash spUnt. 

To make the trap's, the weaving is first done in 
the form of a square. A circular frame is made of 
the heaviest ash sphnts, and may be composed 
of several thicknesses. The frame is now placed on 
the square weaving, and a line drawn just outside it. 
When cutting the weaving circular, cut about one 
inch outside the mark. The ends are now turned 
upward next to the outside of the circular tray, 
and are held in place by using the 1 oz. iron tacks. 
Another frame is now made to fit outside the first 
one. When this is shipped in place, the tacking is 
brought between the two frames. 

To make the tray more secure, a |" strip of ash 
may be used to overcast the top, similar to over- 
casting done in basketry. 

Fig. 91 shows the working drawing for the 
standard of the tea table. 

Fig. 92 shows a finished tea table. The woven 
panel at each end adds greatly to the appearance of 
the finished product. 

Fig. 93 shows the ^\•orking drawing of the tea 
table. 

Fig. 94 shows a simple, yet effective, magazine 
rack. It is somewhat different from the stereotyped 
forms. It is a beginning toward getting away from 




Fig. 85— Foot Stool 

the old types that are so apt to suggest fences or 
chicken coops. 

Fig. 95 shows the working drawing for the 
magazine rack. 

Fig. 96 shows a most attractive wa3' in which 
the ash splint may be used in the construction of a 
sewing basket. 

Fig. 97 shows tlie working drawing for the sew- 
ing basket. 

Fig. 98 shows a completed lam]) in which a 
panel of ash s])lint is woven in each si<l(\ This 



Bill of Marerial I 


N*^ 


Name 


l^n,?MWpdth 


6li<k.ej5 


■4. 


Lev-. 


IS. 


l-z 




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"Rails 


if>k 


3 




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ifc-i 


1 5 


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lOj 


J 


4 


z 




.oi 


li 








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Tr.m 


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24 


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t 

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CRICKET 



Fig. 86 — Working Drawing of Foot Stool, Eighth Grade 





Fig. 87— Plant Stand 



Fig. 89— Tea Table 



\ / 






1 1 1 iLVhn, IlV*j.\4 1 1 ' ' 1 1 ' ' 1 1 ' ' 1 1 ' 


1 II II 1 r II 1 1 II 1 




1 II II 1 1 1 1 1 1 1 1 1 


II 1 1 I 1 II M M 1 1 







+ 



[i. 




- 


Bill of Material il 


N« 


Name 


^n,M 


W'dtti 


tJiiclines) 


4 


Posts 


S7 


15 




If, 


Ea,l5 


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^a.l5 


127 


2 


i 


fl 


P.ece* 


6 


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Rails 


3JJ 


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Eails 


7i 


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JJS 


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31 




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40 


D.w=l5 


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Piarr, 



F1.ANT STAND 



Fig. 88— Working Drawing of Plant Stand, Eighth Grade 




Fig. 90— Tea Table Folded 

problem is the most difficult of any suggested, and 
should not be undertaken as a class exercise, but 
rather by the excejitional boy. 

Fig. 99 shows the working drawing of the lamp 
standard, and Fig. 100 shows the working drawing 
of the shade. 



Fig. 101 givestlie woi'kingdiawiug of a newspaper 
tray. If the dimensions given do not suit the size of 
the folded paper for which the basket is to be con- 
structed, they may be changed to meet requirements. 

Fig. 102 shows the finished basket. 

Fig. 103 shows the working drawing for a tele- 
phone directory rack. The cover of a directorv is 




Fig. 92— Tea Table 




Fig. 91 — Working Drawing of Tea Table, Eighth Grade 




Fig. 93 —Working Drawing of Tea Table, Eighth Grade 





Fig. 96 — Sewing Table 




6,H o. M,«r„J_J 




cni^l 


Widrh IhKknct^ 


1 Bottoni 


eo 


42 


J 


Z S.dei 


17 


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4 


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n 


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1 


a. 


fl 


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4- 



15L [ 



MAGAZINE. STAND 



Fig. 95 — Working Drawing of Magazine Stand, Seventh Grade 




Fig. 97 — Working Drawing of Sewing Basket, Eighth Grade 



usually poor iii color aiul design. It is therefore dc- 
sirai)le to keep as much of it as possible out of sight. 

Fig. 104 shows the finished rack. 

The ash splint cannot be used in the seating of 
large chairs, nor in any other large piece of furniture 
where strength is reciuired, without being reinforced 
l)y a flat wire. This wire is woven at the same time 
the splint weaving is done. 

Splints of ash, oak and hickory must, at least 
for a time, be used in place of the pith cane (flat 
reed), because of the scarcity of the latter on account 
of the Euro])can war. 

The writer wishes to call attention to the fact 
that an effort has been made to keep the problems 
as simple as ])ossible. It is ho]ied that they are 
within the power of the seventh- and (>ighth-grade 
])ui)ils to construct, thus making the suggestions 
practical. 




Fig. 98— Table Lamp 



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Fig. 100 — Working Drawing of Lamp Shade, Eighth Grade 




Fig. 102 — Newspaper Tray 




I 



Fig. 104— Directory Rack 



□: 



II : ~r 



I II 




DM of 


Ma.er.e, 1 


N" 


Name 


Lenflht Width fniicKntij 


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NtWSFAFILie T'RAY 



Fig. 101 Working Drawing of Newspaper Tray, Seventh Grade 



H 



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TELEPHONE DIRECTOR YT?ACK 



Fig. 103 — Working' Drawing of Telephone Directory Rack, Seventh Grade 



CHAPTER IV 



Cane Weaving 



There is no material wiiicli works more harmo- 
niously and artistically in combination with wood 
than the old-fashioned cane that was used in much 
of our grandmothers' furniture. 

Like many of the old arts, it is being gradually 
revived, not just as it was half a century ago, but 
in such a w^ay as to fill the needs and demands of 
the present modes of living. 

In the past, caning was used principally in 
the seats and backs of chairs, while now, it is 
used not only in this way, but many surfaces are 
broken in a most i:)leasing way by i)anels or friezes 
of cane. 

We enjoy and apjjreciate our surroundings only 
so far as we have been taught to see what is about us. 
It is after our attention has been called to certain 
combinations of materials that we begin to realize 
their imjiortance in the artistic and commercial world. 

Caning has a legitimate place in the manual 
training of our elementary schools. It is a very 
wholesome occupation, and when used in conjunc- 
tion with wood, adds greatly to the interest of the 
pupils in their manual training projects. It is a line 



of work that develops the mind, the hand, and the 
eye. Any seventh grade boy can do this work. 
Much of the work suggested in the following exer- 
cises may be pursued in the home, thus caring for 
many of the bo3''s leisure hours by furnishing him 
interesting occupation. This occupation may be 
carried over to the repairing of many worn-out 
jobs in caning for the neighbors, thus giving the 
boy an oi)portimity to place a money value on his 
work. 

That the work is so limited in our school shops 
is often due to the fact that our teachers are un- 
familiar with it. Many may feel that caning is not 
a ])art of manual training, and thus has no i)lace in 
such a course. The manual training teacher must 
take the broadest possible view of the work in his 
charge. He should become familiar with the various 
materials which will work in combination with wood. 
He should imderstand the handling of such materials 
and the processes necessary to produce the finished 
product. There is no doubt but the introduction of 
cane, splint, reed, etc., in conjunction with wood, 
often makes a real, live problem of the one at hand. 



which othen\ise Avoiild l)e dead, or at least un- 
interesting. 

To appreciate the commercial value of the com- 
liination i>roblem, one needs only to consult a sales- 
man in one of the large dcjiartment stores, or some 
dealer in furniture. 

Manual training in the grades is not designed to 
make carpenters, cabinet-makers and pattern-makers 
of our boys, any more than it is to make surgeons 
of them. For this reason, the greater variety' of 
materials which can be introduced into the work, the 
more mental power and skill it takes in its manipula- 
tion. 

When introducing a new material, it is always 
well to have the members of the class know some- 
thing of its origin, what it is, where it comes 
from, how prepared for the market, etc. It 
thus becomes a real, live problem in commercial 
geography. 

Cane is a in-oduct of India, China, Ceylon, and 
many islands in the Indian Archipelago. It is the 
outer covering of a kind of palm known as rattan. 
It grows to an immense height, often reaching the 
tops of the tallest trees. It is often found trailing on 
the ground to a length of several hundred feet, not 
exceeding a diameter of more than one inch. For 
convenience in handling, it is cut into lengths of 
from twelve to twentv feet. 



Great quantities of this material are shipped to 
various Euro])ean countries, where it is prepared for 
market, to be sent to all ]5arts of the world. It is 
the outer covering of the stem which makes the 
cane. It is stripi)ed off in widths of from 1-16" to 
3-16", and tied up in bundles of about 1,000 feet 
each. The commercial name for such a bundle is 
"hank." It sells for from 55 cents to 95 cents per 
hank. The inner part of the stem is cut by running 
it thru circular dies of various sizes, thus giving to us 
the assorted sizes of reed such as are used in basketry. 
The flat reed, i)roperly called "i)ith cane," is nothing 
more than the inner part of the stem cut into thin, 
flat strands. 

Most of the cane and reed used in this country 
is imported from Germany. This exj^lains the 
scarcity of the material at this particular time. 

In market terms, cane is designated as superfine, 
fine-fine, fine, medium, common, narrow binder, and 
wide binder. Fine and medium are the best suited 
for pupils' work. There is no difficulty in de- 
termining the right side of cane, as it has a very 
glossy surface. 

The eciuipment necessary to carry on the work is 
exceedingly simple, consisting of the following: a 
stratch awl, a knife, or pair of scissors, a pair of di- 
viders, a rule, and four or five pegs made of j" 
dowel rod i)ointed as shown in the illustration, a 



caning noodle, constructed as shown in Fig. 105. 
The cost of such a needle, if made by a workman, 
is about 35 cents. Its direct use will be mention- 
ed later. 

As the needles are not on the market, it is neces- 
sarj' for some local workman, or the pu])il himself, 
to construct them. Th(>y are made of a piece of 
round steel wire about 18" long, flattened at one 
end. An eye is cut in the flattened portion, and 
the blunt point is curved, as shown in Fig. 105. The 
other end is run thru an ordinary tool handle and 
riveted. 

The needle is a great assistance in executing the 
fourth sto]) in caning. The needle, however, is not 
absolutely necessary, as the work may be done 



without it, taking a somewhat longer time. Refer- 
ence will be made again to this point when taking 
uj) the various steps. 

Making the Fernery 

There is no reason why our pupils should not 
learn cane weaving thru the construction of some in- 
teresting manual training exercises. The day of 
doing things just for the sake of learning the pro- 
cesses, has practically passed. Fig. 106 shows the 
working drawing of an interesting fernery for a 
dining-room tabl(\ It is very simple in its construc- 
tion, and not in the least beyond the ability of the 
average seventh-grade pui^il. The exercise involves 
the butt joint. The inner part of each side is sawed 



14- to S4- 




2>® 21 



^to^. 



:=y 



Fig. 105 —Working Drawing of Caning Needle 



^i -- 



a« 



y&fnss Headed Ta cks 



(— ^- 



fri- 



Bill of r-lQterial II 


N« 


Nome 


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2 


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i 


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- 













CAN£D FEPNERY 



Fig. 1 06 — Working Drawing of Caned Fernery, Seventh Grade 



out, leaving the opening to be caned. This kind of 
construction is legitimate, where the caned parts 
are not to be put under any great strain. It 
would hardly do to construct the seat of a chair 
in this way. 

Steps in Caning 

Fig. 106 shows the entire working drawing, and 
Fig. 107 shows one corner of the opening to be caned. 
Draw a pencil Une around the entire opening, one- 
half inch from the edges. It will be observed that this 
distance from the edge is allowed in most all com- 
mercial work for various widths of cane. With a 
pair of dividers, mark off ^" spaces on the line just 
drawn by beginning at the upper right-hand corner 
where the lines intersect, and proceed to the left. 
In marking the oi)posite rail, use the try-square or 
framing square, as this will bring the holes, when 
bored with a 3-16" wood bit; directly opposite each 
other. Fig. 107 shows all necessary details. When 
the boring is completed, the frames are ready for 
the cane. For convenience, the several steps in 
caning will be numbered as follows: 

First Step: Fig. 108 shows the first step in cane 
weaving. Moisten a hank of cane in either warm 



o-^><'^-<x> Or<y 



e 




Fig. 107 — Method of Locating Holes 

or cold water. It is not necessary to allow it to 
soak more than two or three minutes, as the 



14-5 

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o 
o 



o 



o 
o 



o I) 



(J (^ U) 

3 



o 



o 



o 
o 



o 



o o 



water remaining on the cane 
is absorbed, making it very 
l)liable. Start a strand right 
side up by drawing one end 
tlirough tlie hole marked 1, 
as shown in Fig. 108. Hold 
this end in place by forcing 
a peg into the hole. Draw 
the other end of the strand 
through the opposite hole 
marked 2, always keeping 
the right side up. This is most 
easily done by drawing the 
strand between the thumb 
and forefinger. This not only 
keeps the right side up, but 
prevents twisting and kinks. 
Another peg may now be in- 
serted in hole 2. See that the 
cane is fairly tight. The end is 
next l^rought uj) through hole 
3, care being taken that the 
right side of the cane is always 
kei)t to the outside. To do 
this, the cane must be drawn 
between the thumb and fore- 
finger each time. The end is 



Fig. 108 - First Step in Caning 




now carried across the open- 
mg and down hole 4. The 
])eg is now I'cinoved from 
iiole 2 and ])laced in No. 4. 
The end is next brought iij) 
hole "), and the ])eg taken 
from hole '.i and i)laced in 
Xo. ."). Continue in this 
way until all the holes in 
the i)arallel i-ails have been 
used, as shown in Fig. 108. 

Second Step: There is no 
difference between the first 
and the second steps, except 
that the holes in the other i)ai'- 
allel rails are used, and the 
cane is carried over the first. 
If there is any ])art of the hrst 
strand left, do not cut it, but 
carry the end over to the first 
hole in the vertical rail, and 
])roceed as in the first step. 
Fig. 109 shows the second ste]) 
completed. INTove the ]iegs 
as the strand tr:i\-els from 
one hole to the othei'. 



Fig. 109 —Second Step in Caning 




Sketch of 
Peg. 



Fig. 110— Methods 

of Tying Cane 

Ends. 



To fasten the end, draw 
it under the nearest stitch on 
the under side of the frame, 
as shown in Fig. 1 10. The new 
end may l^e fastened in the 



Fig. Ill — Third Step in Caning 



saiiK^ way as the end of the 
used one. 

Third Step: This step is 
identical with the first. It 
runs over the first and second, 
and is parallel with the first. 
It will lie observed by this 
time that the same hole is used 
a number of times. It often 
becomes necessary to use the 
scratch awl in forcing an open- 
ing to allow the cane to pass 
through the hole. 

Fig. Ill shows the third 
step completed. 

Fourth Step: The weav- 
ing, i)roperly so called, begins 
at this jmrticular stage of the 
work. It is in this step that 
the needle is used. It will be 
observed that some holes have 
been used twice, and some 
once. Start a hole next to a 
corner that has hooxi used but 
once, and on the side toward 
the open space to be caned. 




Fig. 112— Using Needle, Fourth Step 




With the needle, begin to 
weave over and under, across 
the entire opening, as shown in 
Fig. 112. The end of the cane 
is now run through the eye of 
the needle and drawn through, 
being careful to avoid kinks or 
twists. Draw the end through 
the hole, bringing it u]) through 
the next hole. The needle is 
now woven across from the op- 
l)osite direction and the cane 
is drawn through. This is con- 
tinued until the entire surface 
is completed. When finished, 
it ai)i)cars somewhat confus- 
ing, as shown in Fig. 1 14. This 
is all adjusted by moistening 
the cane with a sponge or 
cloth, and pushing the parts 
forming pairs together. It will 
l)e observed that the cane 
forms itself into groups. The 
strands from right to left 
form groups, and those from 
front to back form groups. 



Fig. 113— Fourth Step After Being Woven 



Fiji'. 1 11 shows till' t'oui'th stc]) 
complctt'd. 

Tlu> fourth step may be ac- 
(•omi)lished without the needle 
by bringing the end of the 
cane over and under, follow- 
ing the same course as de- 
scribed for the needle. 

For convenience, the work 
should always be clamped to 
some substantial support, — 
the work bench, a table, or 
the puinl's desk, as shown in 
Fig. 115. 

F if til Step: This step be- 
gins \\ith the first diagonal 
weaving. For convenience, 
start a strand at the ujDper 
right-hand corner. With one 
hand under, and the other 
over the frame, guide the end 
so it passes under the first 
vertical group and then over 
the first horizontal grouj), as 
shown in Fig. IIG. 

Since the end passes over 
the first vertical group, it 




Fig. 114 — Fourth Step Completed 




Fig. 115— Work Clamped to Table 



must pass ovor each group 
parallel to the first ; and since 
it passes under the first hori- 
zontal groui:), it must pass 
under eacli horizontal group 
l)arallel to the Hrst. ^^'hen 
])utting in the diagonal lines 
of cane, two parallel lines 
begin or end in the same 
hole at the corners. Fig. 
115 shows the wrong way to 
begin. 

Sixth Stcj): In this step, it 
will 1)0 observed that the cane 
is carried from the l)ack left 
corner to the front right cor- 
ner, over the hrst vertical 
group and under the first hori- 
zontal group, thus making 
these diagonals perpendicular 
to the first. It is now seen 
that where the first diagonals 
])assed under the vertical 
grou]) in the fifth ste]), th(> 
second diagonals pass over the 
vertical group, as in Fig. 118. 



i 






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Fig. 116— Fifth Step in Caning 



Great care should be taken to 
have the cane so drawn in, 
that the right side is always to 
the outside. This is done only 
by drawing the strand be- 
tween the thumb and the 
fore-finger. 

The Binder 

The binding cane is 
broader than that used in the 
weaving. Its use is to cover 
up the rows of holes through 
which the weaver has been 
drawn. There was a time 
when the binder was consider- 
ed absolutely necessary. It 
is no longer considered so. 
Much of the very best caned 
furniture is left without a 
binder. 

The binding is a simple 
])rocess, and is done in the fol- 
lowing way: Pull a cane, simi- 
lar to that used in the weav- 
ing, up through a hole. Lay the 
cane, to be used as a binder, 
over the hole, and ]mll the 




Fig. 117 — Wrong Way to Start Fifth Step in Caning 




cuiic over it , ;ill()\\in<>; it to ))ass 
down through the same hole. 
This makes a loop over the 
hinder, holding it secure. This 
is continued around the entire 
chair. The binder is shown 
along the left edge of Fig. 
118-a. 

The Trim 

WIkmi the luider side of a 
piece of caned work is ex- 
posetl, it often detracts from 
the general appearance of the 
Hnished article. In such a 
case, narrow strijjs of wood 
may be grooved, as shown in 
Fig. 119, and tacked over the 
unsightly parts, thus giving it 
a neatly finished appearance, 
as in Fig. 119-a. 

Fig. 120 shows a finished 
fernery. 

Four Step Caning 
Fig. 121 shows a finished 
magazine rack with sides wo\- 



Fig. 118 — Sixth Step, Caning Complete 





Fig. 119— Sketch of Trim 



Fig. 118a — Method of Weaving Binder 

en in the four-step cane. The working drawing is 
shown in Fig. 122. 

Fig. 123 shows the various steps to follo\\' in 
the four-step caning. While this work is not so 
substantial as the six-step caning, it has a place in 
the workshop, and especially in problems where 
any great strength is not recjuired. The holes are 




Fig. 1 19a — Trim Applied to Under Side of Caned Panel 







Fig. 120— Fernery 

markod off and bored the same as jire- 
viously described. The cane is first 
carried across the opening vertically; then 
across horizontally, crossing the vertical 
strands at right angles. Following this 
step, the first diagonal is carried from 
the upper right corner to the lower left, 
as shown in the drawing. In the fourth 
step, the diagonal is started in the iii)])er 
left corner, brought over the first diago- 



nal and under the intersection of the other strands, 
making sim])le under and over weaving, as shown in 
Fig. 123. 

Figs. 125,120, and 128 show very interesting foot-stools- 
in which cane ])lays a veiy important i)art in tlic con- 
struction. 




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MAGA21NE1 5TAND 



Fig. 122 — Working Drawing of Magazine Stand, Seventh Grade 



Figs. 124 and 127 show- 
working drawings for the foot- 
stools above mentioned. 

In Fig. 125 is shown a 
binder of broad liinding cane 
forred into a groove. When 
the binder is used in this way, 
a groove as wide as the binder 
and about 3-16" deep is cut 
coincident witli the holes be- 
fore the weaving is started. 

It is after the caning has 
been completed that the bind- 
ing cane or half-round reed is 
forced into the groove. A 
small amount of glue, and oc- 
casionally a f " brad, is used 
to hold the binder in place. 

Fig. 130 shows the work- 
ing drawing for a combination 
box and foot-stool. Owing to 
the small flats and so often 
crowded conditions in the 
homes, it is advisable to 
make combination problems, 
as shown in Fig. 129. In 
this problem there is a very 
interesting stool, foot-stool, 
and shoe box. 




Fig. 123 -Four Step Caning Completed 



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CANLD FOOT STOOL. 



Fig. 124— Working Drawing of Caned Foot Stool, Eighth Grade 





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CANED FOOT REIST 



Fig. 127 — Working Drawing of Caned Foot Rest, Eighth Grade 



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CANED SHOE. BOX 



Fig. 130 -Working Drawing of Caned Shoe Box, Eighth Grade 



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ri,KN STAND 



Fig. 131 — -Working Drawing of Fern Stand, Eighth Grade 






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HALLMIRKOR 



Fig. 133 — Working Drawing of Hall Mirror, Eighth Grade 



Fig. 130 shows the completed exercise. 

Fig. 131 shows the drawing for a plant stand. 

Fig. 132 shows the completed stand. 

Fig. 133 is a working drawing for a hall mirror. 
This i)roblem may be worked out verj^ successfully 
by any eighth-grade ])ui)il. 

Fig. 134 shows the finished mirror. 

Fig. 135 show the working drawing for a sewing 
stand. 

Fig. 136 shows the finished stand. 

Figs. 137, 139, and 141 show working drawings 
of waste baskets, while Figs. 138, 140, and 142 show 
the finished products. 

The leg rest shown in Figs. 143 and 144 makes a 
most interesting problem to be taken into the home. 

There are few jjupils in the grades who are am- 
bitious enough to undertake a problem larger than 
a Morris chair. In jjlanning for such a problem, 
care should be taken that the designer holds to one 
line of design. He should not be allowed to upholster 
the seat, cane the sides, and have slats for the back. 
Such a combination is too much for one chair. If 
leather is used in the seat, it might be used for the 
back or the back might be caned. 

Fig. 145 gives the working drawing for a Morris 
chair, while Fig. 146 shows the completed chair. 




Fig. 132— Fern Stand 





Fig. 136— Sewing Table 



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3I1NA/ING TABLE. 



Fig. 135 — Working Drawing of Sewing Table, Eighth Grade 




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WASTE. BASKt-T 



Fig. 137 — Working Drawing of Waste Basket, Eighth Grade 





Fig. 140 — Waste Basket 



Fig. 138— Waste Basket 



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WASTE. BASKLT 



Fig. 139 — Working Drawing of Waste Basket, Eighth Grade 



Care must bo taken not to allow too groat a 
contrast between the natural color of the cane and 
the finish of the wood with which it is used. It is 
often advisal5l(> to give the cane a coat of the same 
stain as used on the wood. Owing to the hard, shiny 
surface of the cane, only a very small amount of the 
oil or acid stain is absorbed. This, however, gives 
a most pleasing contrast, and is not so extreme as 
to attract attention. 

Fig. 147 shows the working drawing of a tea 
table. 

Fig. 148 shows a finisliod table without the use 
of cane. 

Fig. 149 shows the tal)le with caned ends. 




Fig. 142— Waste Basket 




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WASTE BASKET 



Fig. 141 — Working Drawing of Waste Basket, Eighth Grade 



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CANED LUG IS EST 



Fig. 143 — Working Drawing of Caned Leg Rest, Eighth Grade 




Fig. 144— Leg Rest 




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MORR15 CHAIR 



Fig. 145 —Working Drawing of Morris Chair, Eighth Grade 




Fig. 146 — Morris Chair 



Fig. 149— Tea Table. Caned Ends 




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TE.A TABLE. 



Fig. 147— Working Drawing of Caned Tea Table, Eighth Grade 




To Cane an Old Ch^ir 

It is not necessary to go into all the details of 
caning an old chair, as such a problem solves itself 
to one who has had even a little experience in chair 
caning. What may seem confusing in any line of 
repair work, very soon straightens itself out when 
the worker begins the actual operation of caning. 

Even irregular openings are simple after a little 
practice in the more regular forms above mentioned. 

Fig. 150 shows the caning of the irregular chair 
seat. 

Fig. 151 shows the caning of the circular chair 
seat. 



Fig. 148 — Tea Table. Open Ends 




Fig. 150 



Fig. 151 



CHAPTER V 
Rush Seating 



A few years ago, such materials as cane, i)itli 
cane, round reed, split reed, ash splints, willow, 
hickory splints, fibre cord, and rushes were con- 
sidered a novelty when seen in the work rooms of our 
manual training schools. By degrees these materials 
are finding their way into the shops of the more pro- 
gressive teachers, who believe any material that may 
be used in conjunction with wood has a legitimate 
place in the shops of our public schools. Such ma- 
terials not only add interest to the problems at hand, 
but also increase the pupil's knowledge of materials 
and possible combinations, thus broadening his 
horizon and making it possible for him to enjoy to 
a far greater degree not only the products of his own 
shop, but those of the art world in general. It aids 
him in discriminating in the commercial world be- 
tween good and bad combinations. One api)rcciates 
this when one sees a group of boys gathered about 
the show windows of a furniture store admiring the 
display, and pointing out, in their limited way, the 
good qualities of certain combinations. 

There is nothing new about the rush seating of 
stools and chairs. Rush probably is one of the oldest 
known materials used in conjunction with wood. 



History states that it was used in the valley of the 
Nile long before Christ. The museums of our east- 
ern cities contain various examples of rush seating 
brought to this country by the early settlers from 
England, France, and Holland. 

The real rush seating, as the name implies, calls 
for the rushes, or cat-tail flags which grow in the 
low, wet places along rivers and in sloughs. If 
rushes or cat-tail flags cannot be procured, heavy 
hemp or sisal twine or raffia are jjossiblc. In some 
sections of the country ropes of corn husks are used. 
In Euro])e, rye straw is wound over twine or grass, 
and is used in seats. The most practical substitute 
in the north central section of the country is a twist- 
ed jmper cord. It is usually shipped on spools of 
about 100 ])ounds each, and sells at from 12 to 15 
cents per ])ound. It may be procured in several 
colors, green and brown being most commonly used 
for chair seating. One kind is especially pleasing 
in color. The prevailing color is brown, with just an 
occasional suggestion of green. Imitations, as a rule, 
are to be discouraged. Fibre cord, however, may be 
considered an exception, as it is a very substantial 
material and may be very successfully used in chair 
seats. 



If rii.shos or cat-tail flags arc used, they should 
be (uit in August and the l)utt cuds removed. The 
drying should be done in a dark ])lace, as this aids 
in retaining some of the natural gr(H'n in the drying 
stem. Care should be exercised not to break the 
stems. After they are thoroly dri(Hl, they may be 
tied in bundles and stored away for futiu'c use. Be- 
fore working, allow them to lie in a wet cloth to 
soften. When using, squeeze the air and water out 
])>• pressing each leaf from the top between the 
thumb and first finger. P^our leaves usually com])ose 
a strand. Twist in the same direction and kec]) 
uniform in size. With flags or rushes, the strands 
stretch underneath without twisting, and new leaves 
are introduced at the corners where the coil turns 
back for a new direction. The process of wra])])iiig 
will be described a little later. 

\Mien raffia is used, color may l)e introduced. 
Raffia is well known throughout the grades because 
of its general use in basketry. The original source 
of all materials should be considered, and well gone 
over at the time of their introduction. The writer 
well remembers the time when this phase of the 
work was neglected. A large suj^jily of raffia had 
just been delivered to the school and left in the office. 
As the niaterial was to be dyed, several boys of the 
upper grades were asked to assist in the opening of 
the braid(Hl bimdles. This made a loose pile of 



grass-looking material in one corner of the office. 
Just at this point a little girl came to inciuire for a 
l)air of lost mittens. She was referred to the Lost- 
and-Found Box, which was at this particlar moment 
under the i^ile of raffia. As the little girl was leaving 
the office she was asked if she had found her mittens. 
Her reply was that she could not get near the Lost- 
and-Found Box because there was so much hay 
around it. There are scores of pupils who have used 
raffia in various ways, Avho have been allowed to go 
on thinking that raffia is a kind of grass. 

In a recent article, raffia was described as l)eing 
the leaf of a certain palm. One needs only to dampen 
it and observe how nearly transparent it is, to kno\\- 
that it cannot be the leaf itself. Raffia is the outer 
covering strii)i)cd from the leaf of a certain palm, 
\\hich grows very extensively in Madagascar. If 
raffia is used it should not be soaked, but like 
the cat-tail flags, it should I)e wrai)i)ed in a damj) 
cloth, which moistens it sufficiently for twisting 
])vu'poses. 

Rush seating cannot be called weaving. It is 
more properly called wrapping. 

For the rush l)ottom or cord seat, a frame is 
])ro\'ided with rounded edges and definite, sul)- 
stantial corners (Fig. 152) that rise a little abo\-e 
the connecting frame and suggests how thick the coil 
should be. 



Fig. 153 shows the direction i)iirsued by the cord 
ill wrapping a chair seat. Beginning with the upper 
right hand corner, lay one end of the twisted cord on 
top of the rail, allowing the end to extend, as shown 



I — — I 

I I 

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cz: nn 



Fig. 152 — Frame for Wrapping 

at "A;" allow tlic cord to pass over the edge and lui- 
der the rail, as shown at "A," then over the top and 
edge of the rail marked "B." This binds the start- 
ing end. Pull the cord right under the rail at "B" 
and carry it directly across to the u]ii)cr left corner 



of the frame and over the top at "C," around the 
edge and under the rail at "C," then over the top of 
the rail at "D," over the edge and under the rail at 
"D," directly across to the lower left corner, over 




Fig. 153 — Method of Wrappi 



the top of the rail at "E," around and under the rail 
at "E," and then over and under the rail at "F," 
across to the lower right corner, over the rail at 
"G," around the edge and under "G," over the rail 



at "H," around the edge and under the rail at "H," 
back to the upper right hand corner. The same 
course is repeated each time around. Care should 
be exercised to have the cord fit closely where it 
passes over the rails. Do not allow the strands to 
overla]) at the corners as the work ])rogresscs. 
Sometimes it becomes necessary to force the strand 
together by using a block of wood and a mallet. 

The fiber cord being of paper prevents it from 
being soaked in water for any length of time. By 
dipping it into the water and allowing it to remain 
but a moment, enough water is absorbed to make 
the handling of the cord somewhat easier, and in 
drying out it tightens about the frame, making 
smoother work. 

Splicing the Cord 

When the end of the cord is reached, the ama- 
teur usually tacks it to the under side of the frame. 
The new piece of cord is begun also by tacking. 
Even a beginner may learn to do the sjjlicing. Take 
a piece of new cord of the desired length and si)lice 
the end (which is made by severing the cord from 
the spool) to the end on the frame. This is done by 
untwisting each of the ends and cutting away a 
slanting piece of each. These two ends are now over- 
lai)ped and twisted together. The other end of the 
new piece of cord will not twist with the end oil the 
chair frame. 



Splicing and Twisting the Rush 

In using rush, the twisting is done as the wrap- 
l)ing progresses. It is done by rubbing the rushes 
against the thigh with the ])alm of the hand. When 
several strands of raffia or rushes are used in making 
the twist, different lengths are chosen, thus making 
the twist continuous by adding one strand at a time. 
Those experienced in rush seating think it ciuite im- 
possible for the average eighth-grade boy to do chair 
seating with the rushes, as the twisting is an art 
which is acquired only by a great deal of experience. 
A very valuable experience, however, is gained by 
allowing the boys to experiment. 

Stuffing the Stool 
As the work progresses, it becomes necessary 
to stuff the space between the layers of cord. Raffia, 
paper, rushes, or even excelsior are used to make a 
firm, solid seat. This stuffing must be well done in 
order to prevent breaking at the inner edges of 
the rails. When the wrapping and stuffing are com- 
pleted and the frame placed, the cord should be 
given a couple of coats of shellac. Sometimes varnisii 
is used. Care should be taken when shellacing that 
all the strands are forced into place. The shellac or 
varnish will aid in keeping a perfectly smooth sur- 
face, and is a protection against moisture. If so de- 
sired, a coat of stain may be ai)i)lied before using 
the shellac. This is especially desirable wlien the 



seat is to be of the same color or a tint of the same 
color as the frame of the chair. In a recent display 
of furniture, in which the combination of materials 
was emphasized, rush seated stools were shown on 
which paint had been used. 

Fig. 154 shows a partially wrapped top. 

Fig. 155 shows the working drawing of the stool. 

To Place the Frame 

Remove the cai)s at the corners and screw the 
frame to the posts of the stool. When this is done 
the caps are again returned to the corners, and with 
glue and brads, are tacked permanently to the 
corners. The return of the caps covers the screw 
heads used to keep the frame in place. 

Fig. 156 shows the finished stool. 

Fig. 157 shows a square seat, the wrapping 
having been done over the rails of the stool. 

Fig. 158 shows the working drawing of the stool 
shown in Pig. 157. 




Fig. 154 — Partially Wrapped Top 



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Wrapping a Rectangular Seat 
It is not absolutely necessary that the wrapi)ing 
be done over a separate frame and then inserted or 
screwed to the posts, as in the case of the stool 
above described and shown in Fig. 156. 



The wrapping is more often done over the rails 
of the chair or stool, as shown in Fig. 157. This is 
somewhat more inconvenient than wrapping over a 
frame. Wrapping over the rails of the chair does 
away with two plain squares in each corner, as must 




Fig. 156— Rush Seat 



Fig. 157— Square Stool 



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roOT STOOL 



Fig. 158— Working Drawing of Foot Stool, Eighth Grade 



be true when using the frame, the post 
of the chair or stool making one square 
and the cap at each corner of the frame 
making the other. 

In wrapping a rectangular seat, pro- 
ceed the same as when wrapping the 
square, as shown in Fig. 153. 

In Fig. 159 is shown a partially 
wrapped rectangular stool top. It shows 
the short rails already filled while there 
is considerable vacant space to be filled 
on the long rails. The weaving around 
the corners is no longer possible. The 
problem is to fill the vacant space on 
the long rails. This is accomplished by 
going over and under a long rail, across 
half the frame opening, which is very 
definitely shown in Fig. 159, up through 
the center opening, across the remaining 
half, and over and under the other long 
rail. This is continued until the seat is 
finished. Fig. 160 shows the finished 
stool and Fig. 161 shows the working 
drawing of the stool. 




Fig. 159— Partially Wrapped Rectangular Top 




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FOOT STOOL. 



Fig. 161~-Working Drawing of Foot Stool, Eighth Grade 




Fig. 160— Rectangular Stool 
Irregular Seat to be Rush-Seated 

In the foregoing directions, only the regular 
shapes, the square and rectangular, have been con- 
sidered. In order that the boy may become familiar 
with shapes other than those above mentioned, the 
one shown in Fig. 162 is introduced. This shape is 
often seen in the commercial market. The drawing 
in Fig. 162 clearly shows that the front rail is longer 
than the back and that the side rails are equal 
in length. 

The first step in the seating of this shape is to 
mark off a distance on the front rail ec^ual in length 
to the back rail. This is done by ])lacing one arm 



of the framing square along the long edge and the 
other arm butting against the inner edge of the cap 
on the short rail, and drawing the lines on the longer 
rail, as shown in Fig. 162. 

This is a sort of squaring-u]) jn-ocess, marking 
off or describing a perfect rectangle in the center. 
If the framing square is not at hand, the squaring- 
up may be done by subtracting the length of the short 
or back edge between the caps, from the length of 
the long or front edge between the caps, and one- 
half of this difference marked off on the long rail, 




X=H Difference between a and li. 
Fig. 162 — Method of Marking Irregular Frame 



measuring from the \unvv (Mlgcs of the corner caps, 
as shown in Hg. 162. 

In the wrapping, tlie first stej) is to fill in the 
space at the sides not a i)art of the rectangle. There 
are two ways of doing this. In the first, take a strand 
of cord, tie a string to the end. Tie this string around 
the back rail close to the left hand cap. Then pro- 
ceed as when weaving a square until the back rail is 
reached. Cut the strand about two inches from the 
back rail and tie a string to the cut end. This 
string in turn is wrapped around the back rail 
close to the right hand caj). Proceed in this way 
until the spaces marked off on the front rail are 
filled. There is now a perfect rectangle, which may 
be wrapped as previously described. 

Another good way of filling in the extra space at 
the front corners is to tack one end of a strand to the 
inner edge of one side rail close to the corner. Wrap 
the cord around the corners, as shown in Fig. 163, 
and tack the other end to the inner edge of the op- 
posite rail. Proceed in this way until the spaces on 
the front rail are filled. There is now a rectangular 
space, which is wrapped as already described. 



The seating of irregular seats is no more difficult 
than that of the square or rectangle. Any eighth- 
grade boy can do the work if the fiber cord is used. 
The twisting of the genuine rush is somewhat difficult. 

Fig. 164 shows a finished irregular seat. 

Fig. 165 gives the working drawing for a rush 
seated chair. 

Fig. 166 shows the top of a stool woven with 
fiber cord. 

F'm. 167 shows a finished stool. 




Fig.^163 — Method of Wrapping an Irregular Frame 




Fig. 164 — Irregular Shaped Seat 




Fig. 166 — Woven Top 




Fig. 167~Stool with Woven Seat 





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Fig. 165 —Working Drawing of Chair, Eighth Grade 



CHAPTER VI 
Hickory Splints 



Hickoiy splints are the products of the hickory 
tree, obtained in very much the same way as are 
splints from the black ash and the oak trees. 

Many of the old colonial hickory splint seated 
chairs are still to be seen in the various museums in 
the New England and Middle Atlantic states. The 
chairs to be seen at Deerfield, Mass., are especially 
interesting. The hickory splint seated chairs, as 
household furniture, may still be found in everyday 
use in various sections of the country, especially 
in the south. 

Since civilized man has learned the value of 
fresh air, the inevitable demand for suitable outdoor 
furniture has been created. After much experiment- 
ing with various kinds of wood, it was found that 
hickory, because of its toughness and pliability, was 
the most suitable of all native woods. It stands all 
kinds of weather with placid indifference. It may 
be used in its natural state without paint or varnish, 
— the beautiful sheen and soft colorings of the 
smooth bark being infinitely ])rettier than any jjaint 
or varnish. 

The Splints 

The splints are usually furnished in two widths, 
one about § of an inch wide, and the other, f of an 



inch. Si)lints of this kind may be purchased from 
the original producer at about twenty cents per 
l)Ound. Several of the largest rustic furniture com- 
]:)anies use splints made of the inner bark of the 
hickory for the backs and seats of porch furniture. 
These splints are somewhat darker in color than 
those obtained from the trunk of the tree. 

The frame work need not necessarily be of 
hickory. Sassafras wood is very often used, — in 
fact, branches of any kind of trees may be used. 
Hickory and sassafras retain their bark, while the 
branches from many local trees will not. Encourage 
the pupils to bring in branches trimmed from these 
trees during the season for trimming. 

Fig. 168 shows the working drawing of a stool 
with a woven hickory splint to]i. The construction 
of the frame is very simjile. 

Making a Form 

It will be observed that there is a slight curve 
in the side rails of the stool top. This curve is often 
natural, but the rails may be easily bent over a form 
made for this purpose. Such a form may be made 
of a piece of 2" plank by drawing the curve down the 



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STOOL. 



Fig. 168 —Working Drawing of Stool, Eighth Grade 



center of the plank and sawing. Place the branch 
to be bent between the two parts of the form and 
then draw them together with the clamps. If the 
wood is green, it will bend without any special 
treatment; but if dried out, it must either be 
steamed or soaked in boiling water. Such pieces 
must remain clamj^ed in the form until thoroughly 
dried out; otherwise they will spring back to their 
original sha])c. 

Fitting the Tenon 

Care should be taken, however, when fitting 
the rails, not to taper the tenons. This mistake 
is often made, and the result is insufficient space 
for the glue to hold the parts together. The final 
outcome is that the frame comes apart in a short 
time. 

Fig. 109 shows the wrong way of cutting the 
tenon, while Fig. 170 shows the right way. 

Weaving the Top 

To weave the top, the splints are soaked for a 
short time in Avatcr. This makes them very plial^le 
and easily handled. 

To begin the seating, tack one end of a s])lint 
to one of the rails of the top, using a 2-oz. iron tack. 
The splint is wrapped around the seat frame. When 
the end is reached, it is fastened. with a tack. The 




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Fig. 169 — Incorrect Way of Cutting Tenon 



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Fig. 170 —Correct Way of Cutting Tenon 

end of a new si)lint butts \i\) against the end of tiie 
one just used, and the wrapping is continued until 
the entire top is covered. Wrapi)ing in this way 
makes a doulile seat. Fig. 171 shows the wrai)i)ing. 

Weaving 

The wrapping completed, the weaving is begun 
about the middle of the under side of the seat. In 
tWs exercise, both the top and the under side of the 
top are woven. This is true of all hickory splint 
and Hat reed weaving of stool tops. If plain weaving 
is to be used, the weaver simply passes over one and 
under one. 

If a diagonal weave is desired, the same direc- 
tions may be followed as given for ash splints. 




W'licii tlie end of one splint is reached, the beginning 
of the second weave overlaps the end of the first for 
a couple of inches, and the weaving continues the 
same as at first. It is desiral)le to have the over- 
lapping come on the under side of the stool top. 
Fig. 172 shows a jjartially woven stool to]i. Fig. 173 
shows the comi)leted stool. This work may be made 
most attractive and inex])ensive for the boys in 
makingJgarden and jKjrch furniture. » 




Fig. 172 — Partially Woven Top 



Fig. 173 — Stool with Woven Top 




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Fig. 174 — Working Drawing of Settee, Eighth Grade 



Fig. 174 shows the working drawing of a porch 
settee with woven seat and long, straight branches 
for the back. 

Fig. 175 shows the finished settee with woven 
seat. 

In Fig. 176 is shown the working drawing of a 
porch chair with woven seat and back. 



Fig. 177 shows the finished chair. 

Fig. 178 shows the working drawing of a settee 
\\ith woven seat and back. 

Fig. 179 shows the finished settee. 

Fig. 180 shows a settee with a woven seat and 
two woven panels in the back. 





Fig. 175— Settee. Woven Seat 



Fig. 177 — Chair. Woven Seat and Back 




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Fig. 176 — Working Drawing of Chair. Eighth Grade 




Fig. 178 — Working Drawing of Settee, Eighth Grade 




Fig. 180 — Settee. Woven Seat and Two Panels in Back 



CHAPTER VII 



Uphols taring 



We may safely say that 75 per cent of the furni- 
ture manufactured today is upholstered in one form 
or another, the reason being not only for the ease 
and comfort that are produced, but because of the 
beautiful and artistic effects that can be obtained 
by u]iholstering. Upholstering is an art in itself, and 
like most arts, cannot be j^oorly done without a 
displeasing effect on the entire article upon which 
it is applied. 

The methods of upholstering are too numerous 
to mention in full, therefore we shall explain only 
those simple methods that are within the capabilities 
of the average seventh- or eighth-grade boy. The 
tools needed for these simple methods are very few. 
The materials that may be used, and that are used 
the most, are webbing, springs, canvas, cotton, 
curled hair, common tacks, ui^holstering tacks, 
staples, gimp, cord, leather, imitation leather, tapes- 
try, and fabrics of all kinds. 

The most simple of all upholstering is the stretch- 
ing of leather over a plain surface such as the top of 
a library table, leg rest, or footstool, where only 
the effect of the ui^holstering is desired. This is 



very good for library tables, but not for leg rests and 
footstools, where a little comfort must be considered. 
This method can be used on leg rests and footstools 
if a small amount of curled hair is placed under the 
leather before stretching it, as in the case of the leg 
rest shown in Fig. 181. Do not use cotton when \xy>- 
holstering over a plain, hard surface, such as the to]) 
of the leg rest, as the cotton will pack down and in 
time become almost as hard as the wood itself. 
( 'urlcd hair will not pack as readily nor as hard as 
cotton. But when curled hair is used, a thin layer 
of cotton should be placed over the curled hair be- 
fore stretching the leather over it. 

The next method is that in which the webbing 
is used as a base upon which the upholstering is 
built. The use of the webbing adds greatly to the 
comfort of the article to be ujjholstered, in this 
case a small footstool. At A, Fig. 182, the foot- 
stool is shown with the webbing stretched and 
tacked upon it. The webbing must be pulled very 
tight and tacked very securely, the ends of the 
webbing being doubled to insure a good hold for 
the tacks. 




Fig. 181 — Leg Rest 




Fig. 182 — Steps in Upholstering a Small Foot Stool 



In B, Fig. 182 is shown the leather stretched 
and tacked to the stool over the curled hair and 
cotton, which has been placed on the webbing. In 
placing the leather on the stool it should be stretched 
from corner to corner first and tacked tcmjrorarily, 
then pulled from center to center, right and left, 
front and back, and tacked securely at the center. 
Then iwoceed with the tacking down of the leather 
from center to corner, always pulling the leather 
down and towards the corner. When the corner is 
reached, remove the tack placed there in the be- 
ginning, trim the leather to fit snugly around the 
post, then pull it tight and tack it securely, seeing 
that there are no wrinkles in the leather before 
tacking. 

If there are any wrinkles they can be filled out 
with cotton. 

When the leather has been stretched and 
tacked as shown in B, Fig. 182, we may next place 
the gimp around the edge of the leather and tack it 
with upholstering tacks as shown in C, Fig. 182. 
This gini]:) not only adds greatly to the beauty of 
the upholstering, but also covers up any defects in 
the stretching of the leather. 

If the rails are not too wide, and the piece of 
leather is large enough, one might stretch the 
leather around the rails and tack it on the under 
side of them, as shown in D, Fig. 182. 



If the leather is pulled snugly and neatly around 
the posts no gimp is necessary, but if not, the de- 
fects may be covered by placing the gimp around 
the posts as shown in D, Fig. 182. It may be 
said here that small corner blocks should be placed 
in each corner of the footstool to provide a place 
for the upholstering tacks. The gimp and tacks 
give the upholstering a finished appearance. 

The foregoing methods of upholstering may 
))e used on any jiiecc of furniture, provided the open- 
ing is not too large. 

We now come to another simple method, which 
is used very extensively in upholstering the seats 
of dining-room chairs, and which may also be used 
very effectively on any chair or stool. 

It is necessary first to make a wooden frame one 
inch thick and the same shape as the opening in the 
chair which it is to cover, but ^" larger all around 
than the opening. Then rabbet each edge and cut 
each corner out on the under side as shown in Fig. 
183, so that the frame \\\\\ slip down into the opening 
with the I" projection all around. This projection 
is about j" in thickness. Then round off the edges 
of the frame on the upper side as shown in Fig. 184. 
Corner blocks are now placed in each corner of the 
chair or stool so that the frame rests on the blocks, 
and the projections of the frame rest on the rails. 




Fig. 183— Under Side of Slip Seat Frame 

This removes any pressure from the projection. If 
these blocks were not placed beneath the frame the 
])rojections would snap off when the first real pres- 
sure was placed upon the seat. 

The next operation is to ujiholster the frame. 
Tack the webbing on as in the case of the foot- 
stool, pulling the webbing tightly before tacking. 
Weave the webbing over and under as shown in 
Fig. 184. 

Now place the cotton on the frame and then 
tightly stretch the leather over it, tacking the leather 
on the under side of the projections. Do not use 
too much padding, as the seat will become bulk- 
some; vet have enough to make the seat comfortable, 



as shown in Fig. 185. The seat may be held in place 
by placing a screw up through each corner block 
and screwing it into the seat frame. 

The other method of fitting the seat frame to 
the ojicning in the chair is to rabbet out the rails 
and posts to fit the frame, but this method is 
a little too diffic\ilt for an eighth-grade l)oy to ac- 
com\)\iiih. 

The methods described in the foregoing para- 
gra])hs suit very well the articles mentioned in the 
explanation of the methods. But, one expects more 
comfort in a Morris chair than in a dining-room 
chair, therefore one must use a method of up- 
holstering Morris chairs, rockers, etc., that will give 




Fig. 184 — Webbing Tacked on Frame 




Fig. 185 — Leather Stretched on Frame 

greater comfort. There are a great number of 
methods of doing this. We shall take the easiest 
and simplest. 

To begin with, one must make a box frame, as 
sho\\Tii in Fig. 186, which is \" shorter than fhe dis- 
tance between the front and back rmh, and \" 
narrower than the distance between the right and 
left po.si.s of the chair in which the cushion is to be 
placed. The box is made of f" stock about 4" 
high. Along the inner lower edges of the front and 
back f " square strips are screwed to the box as shown 
in Fig. 186, and on these are placed the 4" strips 
of wood ujion which the siirings are tacked. 



Fig. 187 shows the springs held in place by |" 
staples, a small piece of rope about 1" long being 
placed between the spring and staple before the staple 
is hammered down. After the springs are made fast 
at the bottom, they are tied together with rope at the 
top as sho\\Ti in Fig. 187. Take a piece of rope about 
4" longer than the box and tie one end of it to one 
side of the upper rim of a corner spring, cross over to 
the other side of the rim, tie a single knot, pass over 
to the next sj^ring, repeat the operations performed on 
the fir.st spring, and let the end of the cord hang over 




Fig. 186 — Box Frame 




Fig. 187— Springs Tied and in Place 

the side of the box. Repeat this operation until you 
have six strands of cord tied over the springs as 
sho\\ii in Fig. 187. two ends on each side and one in 
each corner. \Mien you have this completed pull 
the ropes tight and tack the ends to the upper edges 
of the box. This secures the sj^rings at the top. 

The springs may be covered with webbing as 
sho^^^l in Fig. 188, or with a i)iece of canvas. The 
cotton is then placed upon the sj^rings, allowing it 
to cover the sides of the l)ox frame as shown in 
Fig. 189. 



The leather is then stretched over the cotton and 
tacked on the under side of the box, stretching the 
leather as in the case of the footstool, that is from 
corner to corner first, and then from center to center. 
A piece of canvas is then tacked over the bottom of 
the l:)ox and the cushion, as it is now called, is 
complete. Fig. 189. 

One must decide for oneself just how many 
springs are to be used in a cushion. The fewer the 
springs the softer a cushion, while the more springs 
used the more serviceable a cushion. 




Fig. 188 — Springs Covered with Webbing 




Fig. 189 — Leather Stretched Over Box 

The methods of upholstering described in this 
chapter are only a few of a great many, but they will 
suffice all i)ur])oses for which upholstering can be 
used in the sixth, seventh, and eighth grades. 




Fig. 190 — Cushion in Place in Morris Chair 



CHAPTER VIII 



Round and Flat Reed Weaving 



The purpose of this chapter is to show a few of 
the possibihties that may be accomplished in round 
and flat reed, and to point out the relation reed bears 
to wood. Too many manual training teachers are 
laboring under the impression that elementary 
manual training concerns work in wood only. It 
has already been stated in a previous chapter that 
the one great aim of manual training is to combine 
judgment, a purely mental function, and execution, 
a purely physical function. There seems to be no 
work in which the two can be combined so eflficientlj' 
from the beginning, as basketry. The expression 
of thought through wood and many other mediums 
requires, very often, an elaborate equipment of 
tools. The work in basketry requires almost no 
tools, and yet offers great variety as to form and 
color, and almost unlimited possibilities in design. 

Much of the poor work in reed is often due to 
jjoor teaching, and many times in attempting prob- 
lems too difficult. 

For the purpose of experimenting, take a 10" 
square of 2" plank. From the center describe a 9" 
circle. On the circumfernce, mark off and bore I" 



holes 



to 



apart. There should be an 



uneven number of holes. In order to bring this 
about it would be better not to keep the spacing 
eciual. When an even number of stakes are to be 
used, a plug may be placed in one of the holes. 

With the above device at hand it is possible for 
the pupils to answer many questions which arise 
concerning an odd or an even number of spokes. 
Such a device also gives the teacher an opi)ortunity 
of demonstrating the single, double, triple, and 
quadrui)le weaves. 

Single Weaving 

Fig. 191 shows the single weave with an odd 
number of stakes. 

Fig. 192 shows the single weave with an even 
number of stakes. In this weave it will be observed 
that after the weave has passed around once, it no 
longer continues to pass before and back of the 
alternate stakes, but continues to pass before and 
l)ack of the same stakes, as in the first time around, 
as shown in Fig. 192. 

In order to bring about the passing back and 
before the alternate stakes, it becomes necessary 




Fig. 191 



Fig. 192 



Fig. 193 



Fig. 194 




Fig. 199 



Fig. 200 



Fig. 201 



Fig. 202 



for the weaver to pass back of two stakes each time 
around, as shown at "a" in Fig. 193. From this 
])oint the weaving continues the same as when an 
odd numl)er of stakes is used. This is the Indian 
way of weaving, and may often be used as a means of 
decorative work, as shown in Fig. 194. The weaver, 
in its journey around the basket, passes back and 
forth before the same stakes until it has passed 
around several times. When the reverse is desired, 
the weaver ])asses back of two stakes as shown at 
"b," Fig. 194. 

Double Weaving 

Double weaving is made more effecti\T if reeds 
of different colors are used. 

Fig. 195 shows the double or ])airing weave. 
In weaving with two, three, or foiu' weavers, the 
left-hand weaver of the group is known as the rear 
weaver, and the right-hand one as the forward 
weaver. Ordinarily, weaving is done from the 
left to the right, except when a special design is 
desired. 

To do double weaving, two weavers are put 
behind two consecutive stakes and project toward 
the right. The rear weaver goes over the forward 
one back of the stake and out between the two 
stakes. The forward weaver now becomes the rear 
weaver, and ))as.ses over the back of the stake and 
out between the two stakes. 



Fig. 196 suggests the jwssibilities in decoration 
when one weaver is colored and an even nvunbc^r of 
stakes is used. 

Hg. 197 shows the design when the double 
weave is used with an odd number of spokes. To 
add a new^ weaver, insert the end behind and beside 
the end of the one already woven in, and continue 
the weaving as if the weavers were continuous. 

Triple Weaving 

In Fig. 198 is shown the starting of the trijile 
weave. The three weavers are put behind three 
consecutive stakes and extend toward the right. 
In weaving, the rear one goes over the other two and 
in front of the two stakes, behind one stake, and out 
between the next pair of stakes to the right of the 
forA\ard ^\•ea^Tr. The weaver that was in the middle 
now becomes the rear weaver, and in turn is treated 
as the other rear one was treated. This is continued 
as long as the triple weave is desired. In weaving, 
always be sure to take the rear weaver, and have it 
come out between th(> ])air of stakes to the i-ight 
of the forward weaver. 

Fig. 199 shows the result when one coloi'ed 
weaver and two vmcolored ones are used, and the 
number of weavers will go an exact number of times 
into the stakes. By this is meant, the number of 



stakes must be divisible by the number of weavers. 
Each color forms a vertical stripe. Using two colored 
weavers gives the same result, but with a different 
proportion of color. 

In Fig. 200 is given the result \\hen the number 
of stakes divided by the number of weavers leaves a 
remainder of one. This produces a spiral effect on 
the inside and a variegated effect on the outside. 

Fig. 201 gives the result when the numlxn- of 
stakes divided by the number of weavers leaves a 
remainder of tw^o. This produces a spiral effect on 
the outside with a variegated effect on the inside. 

Quadruple Weave 

Fig. 202 shows the starting of the ciuadruple 
Aveave. This may be done with most pleasing effect 
in using weavers of different colors. 

In weaving, the rear one goes over the other 
three and in front of three stakes, behind one stake, 
and out between the next pair of stakes to the right 
of the forward weaver. The weaver that was next 
to the rear now becomes the rear and the weaving 
continues as described. 

In order to make use of the suggestions given 
above, it will be necessary to have a simi)le i)roblem 
on which to work. 



Mats 

Mats are always useful, and since they embody 
all that is foimd in the ))ottom of a basket they may 
well be taken as beginning problems. 

Before beginning the work there are a few terms 
in connection with basketry that should be made a 
part of the child's vocabulary. The foundation pieces 
of reed on which a mat or bottom of a basket are 
A\oven are known as spokes because they radiate 
from the center like the spokes of a wheel. After 
the bottom of a basket is completed and the spokes 
are turned upward they are called stakes. The 
strands of reed used in weaving in and out of the 
spokes and stakes are called weavers. Fig. 203 
shows a number of woven mats. The one of simplest 
construction is shown at A, Fig. 203. 

The material necessary for this mat consists of 
four pieces of No. 3 reed, 14 inches long, one piece 
8 inches long, and two weavers of No. 2 reed. 

Splitting the Spokes 

With a No. 14 or IG darning needle, .split two 
of the 14-inch reeds. To do this first find the center 
of the reed, and about one-half inch from this point 
force the point of the needle through the reed. 

Do this by boring, rather than trying to push 
the needle. When thru, pull or push the needle along 






F G H 

Fig. 203— Reed Woven Mats 



until a slit about one-half inch long has been made. 
as shown in Fig. 204. Split a second reed; pass the 
other two 14-inch reeds through the splits just made, 
as shown in Fig. 205. This makes a peri)endicular 



top of the horizontal pair with its right hand end 
projecting about f of an inch to the right of the 
vertical group. 

The weaver is then brought to the right in front 
of the vertical group, back and down behind the 



Fig. 204— Split Reed 

cross. The eight-inch piece is placed between the 
upper end of the two vertical ones, making an odd 
number of spokes. By ])ursuing this method there is 
very little difficulty in holding the vertical and hori- 
zontal reeds together while beginning the weaving. 

Beginning the Weave 

The weaver of Xo. 2 reed is placed, as shown in 
Fig. 206, behind the vertical group and along the 




Fig. 205 



Fig.»206 

horizontal group, thereby binding its own end to 
the spokes, Fig. 207. 

It next comes to the left in front of the vertical 
group and behind the horizontal group to the posi- 
tion from which it started. It follows the same 
course for once more around as shown in Fig. 208. 
The weaving may now be reversed and the weaver 
allowed to jiass o\'er the grouj) it went under the first 
time around and vnider the groujis it went over, 




Fig. 207 




Fig. 209. From this point the weavei begins to ]Dass 
over and under alternate spokes, Fig. 210. 





Fig. 208 



Fig. 210 



The left hand does the holding while the right 
hand does the weaving. When the spokes are all 
the same distance apart, the mat may be placed 
on a flat surface and the weaving continued un- 
til it is 3 inches in diameter. If one weaver is 
too short to make the mat of the desired size, 
add another and join the weavers as sho^\•n in 
Fig. 211. 

Be sure to hold the spokes out straight as the 
weaving is done. It must be understood that the 
weaver adjusts itself to the spokes and not the 
spokes to the weaver. 



Just as soon as the spokes begin to project in all 
directions, it is an indication that the workman is 
attempting to make the spokes adjust themselves 
to the weaver. 

While weaving, hold the work in such a way 
that the spokes pass between the fingers of the left 




A 




I'-zT^'f', 



Fig. 211 



Fig. 212 — Correct Method of Holding Work 



hand as shown in Fig. 212. The work held in this 
position makes it possible for the thumb and first 
finger to hold the weaver in place while the right hand 
brings the weaver liefore and behind the spokes. 

Tension 

If the work is to be kept perfectly flat, care must 
be taken not to allow the right hand to pull on the 
weaver while the work is in progress. The right 
hand, in making a mat, simi:)ly carries the weaver 
before and behind the spokes. If the work begins 
to pucker and draw up like a bird's nest, it is an 
indication that the tension is too great. 

Over Casting 

After the desired diameter has been woven the 
outer edge must be overcast. Fig. 213 shows one 
stitch of overcasting and the second stitch ready to 
be pulled through. This process continues once 
around, when the weaver is cut off on the back side 
of the last si)oke. 

The Border 

In Fig. 214 are shown several ways of construct- 
ing l:)orders. 

In A, Fig. 214, one spoke goes in front of the 
next and inserts just before it gets to the third. In 
B, Fig. 214, one stake goes in front of two and in- 
serts just before it gets to the fourth. In C, Fig. 
214, one goes in front of three, and in D, one goes in 
front of four. 




Fig. 213 

All spokes must be cut the same length before be- 
ginning the border. The loops must be adjusted after 
the ends are cared for. The length of the spokes 
required after overcasting may be found by trial. 

Pairing Weave 

Fig. 215 shows the method of starting a mat using 
the pairing weave. In this exercise there are eight 
pieces of No. 4 reed, each 14 inches long. Four pieces 
l)ass through four pieces, giving 16 spokes. The spht 
pieces are held horizontally. The weaver is doubled 




Fig. 214 —Method of Weaving Borders 



in the middle, and is started around the vertical 
group just above the horizontal ones, one end being 
in front of and the other behind the vertical group, 
thus forming two weavers, A, Fig. 215. The front 
weaver passes in front of the vertical group and 
back of the horizontal group. The rear one goes to 
the right across the back of the vertical group and 
down in front of the horizontal group, B, Fig. 215. 
In this way the tw^o weavers continue aroimd the 
groups of fours several times, C, Fig. 215. 

At A, Fig. 216, is shown the separation of the 
groups into pairs, while at B, Fig. 216, is shown the 
separation of pairs into singles. Just as soon as the 
spokes are the same distance apart single weaving 
may begin bv taking the rear weaver and bringing 



it over one spoke and under the next. Continue 
in this way until around. The weaver now comes 
outside of the other weaver and stops. The inside 
weaver now weaves around until it comes to the same 
position with reference to the first one. Continue 
to weave with first one and then the other, each as a 
single weaver, until the desired diameter is reached. 

To Overcast 

The weavers are stopped on opposite sides of 
the weaving. One weaver is used in overcasting 
until it reaches the other weaver. The other weaver 
is then used in the overcasting until it comes op- 
posite the place where the first stopped. If a looped 
border is desired, follow the directions given in 
making the first mat. 




Fig. 216 -Separating the Groups 




Fig. 217 — Method of Weaving Closed Borders 



Closed Borders 

Fig. 217— A, B, C, D, E, and F— shows the 
Various steps in making a closed border. 

A, Fig. 217, shows the starting of the first row 
of the weaving of a closed border, and B shows the 
finished border. The starting spoke is No. 1. No. 
1 goes behind No. 2 and out; No. 2 behind No. 3 
and out, and so on around, the last spoke going be- 
hind No. 1 and out. 

Pull all ends tightly. 

The ends are now on the outside of the basket 
and must be pushed back to the inside. B, Fig. 217, 
shows the ends drawn to the inside. To do this. 



start with any 8])oke, ]iut it in front of the next to 
the right, through the looj) into the inside of the 
basket just before getting to the next spoke. When 
all the ends have been drawn to the inside, they are 
cut off close to the border. 

In C, Fig. 217, the first spoke goes to the right 
behind two and out. 

In D, Fig. 217, is shoAvn the finish of C. Each 
spoke goes in front of two and through to the inside 
just before getting to the next. 

In the first half of E, Fig. 217, each spoke goes 
behind one and out, the spokes all being on the 
outside. 



The second half of E shows the spokes passing- 
in front of two, through the loop to the inside. 

In F, Fig. 217, each spoke goes behind two and 
out and in front of three to the inside. 

Other Mats 

B, Fig. 203, shows a mat with an uneven num- 
ber of spokes and a single weaver. It will be ob- 
served that the l)eginning weaving of this mat is of 
raffia. Raffia is somewhat easier to weave in and 
out than the reed. Reed, however, is desirable in 
beginning the weaving. 

C, Fig. 203, shows a mat, the sjiokes of which 
are round and the weaver of si)lit reed or reed 
windings. 

D, Fig. 203, shows a mat having an uneven 
number of spokes and two weavers which pursue the 
same course as a single weaver would. When this 
is done it is advisable to select weavers of different 
lengths in order that only one will run out at a 
time, thus making it easj^ to add new weavers. 

This kind of weaving is not called double 
weaving. 

E, Fig. 203, shows a mat having an even num- 
ber of spokes and two \\'eavers, one natural and the 
other colored. This is called the pairing or double 
weave. 



F, Fig. 203, shows a mat with an imeven num- 
ber of spokes. 

(J, Fig. 203, shows a triple woven mat in which 
the munber of spokes is divisible by the Tuunl)er of 
weavers. Three weavers used. 

H, Fig. 203, shows a triple woven mat in which 
the number of spokes when divided by the number of 
weavers leaves a remainder of one. Three weavers 
are used, two colored and one natural. 

I, Fig. 203, shows a triple woven mat in which 
the number of spokes divided by the number of 
weavers leaves a remainder of two. 

Three weavers are used, two colored and one 
natural. 

In making mats and baskets it is most interest- 
ing to ex]ieriment, using different numbers of spokes 
and various combinations of weavers. 

This work offers splendid opi)ortimity for orig- 
inality. 

Baskets 

Fig. 220 shows a number of interesting baskets, 
some of which will be described later. In the be- 
ginning of basket-making care should be taken not 
to allow the pupils to undertake baskets too large. 

This is one reason why so many jioorly made 
baskets are turned out by inex]ierienced workers. 



The rirst basket is little more than a mat. The 
spokes are cut a little longer to allow for turnino- up. 

The First Basket 

Soak the No. 2 reed for about ten minutes if 
the water is warm and twenty minutes if it is cold. 
Cut four spokes 12 inches long and one spoke 7 
inches long. Proceed as when making a mat. 
After weaving a diameter of about two inches with 
a No. 1 reed, the spokes, which are still moist, 
are bent upward. Sometimes when this is done the 
spokes slightly break. There is no particular harm 
in this. 

In weaving the first time around after turning 
up the spokes the weaver does not keep them in an 
upright position. After going around several times 
they are in the position as shown in Fig. 218. 

The face of the weaving which was next to the 
body of the worker becomes the outside of the bot- 
tom. "V\'hen the spokes are bent they are tiu-ned away 
from the body in order that the weaving may jDro- 
ceed from left to right without the interference of 
the stakes as shown in Fig. 219. 

Shaping the Basket 

The shape of the basket is determined at this 
point in the weaving. If a straight, perpendicular 
sided basket is wanted pull the weaver, or in other 







\^^ 




Fig. 218— Spokes Turned Up 

words give the weaver tension enough to hold the 
stakes upright. If a straight flaring sided basket is 
desired do not give the weaver so much tension, 
thereby allowing the stakes to flare. In weaving all 
straight sided baskets, after the stakes stand at a 
satisfactory angle, be careful to sec that the weaver 
has no tension whatever. 

In the beginning of liasket making the person 
weaving seemingly has no control of the material 
and the shaping of the basket. With a little experi- 
ence this difficulty disappears and the worker gains 




Fig. 219— Holding Work While Weaving 



control of both the material and the shapinjj; of 
baskets. 

If a curved-sided basket, similar to A and B, 
Fig. 220, is wanted, start with the stakes quite flar- 
ing, and keep an even tension on the weaver as the 
weaving progresses and until tlie desired cui'vc is 
woven in. 

Always remember that tension on the weaver 
will bring the stakes together, ^^■hen the basket is 
woven to the de>sired height, the top is overcast 
around the stakes just as it was done around the 
spokes of the mat. 

When this is done the basket may be finished 
satisfactorily by using the border, A or B, Fig. 214. 
The stakes should be cut long enough to push through 
the weaving until they come out at the bottom of the 
basket. This will stiffen the sides and give it a more 
finished a])pearance. 

After all the stakes are i)ushed througli, all the 
curves and loops of the border are made regular in 
height and outline. .This is done either by measure- 
ment or by turning the basket bottom side u\) on n 
flat surface, making all the looi)s touch this surface. 

Other Baskets 

The basket on which P, Fig. 220, stands is an 
interesting one. The spokes, 12 in number, are cut 



30 inches long of No. 3 reed. Six of the spokes are 
split and the other six are passed through the split 
ones as described in the making of mats. 

To secure an odd number of spokes one of the 
now 24 spokes is cut away and the work proceeds as 
when making a mat. Weave with a No. 2 reed until 
a diameter of six inches is reached. Instead of 
breaking the spokes to turn them upward allow the 
weaver to do it by pulling or giving it considerable 
tension. By so doing a very interesting curve is se- 
cured at the turning point instead of an abrupt turn. 

In the weaving allow the stakes to flare while 
weaving about two inches of the upright part of the 
basket. At this point begin to give the weaver con- 
siderable tension, thus drawing the stakes closer to- 
gether. Continue to weave for about two and one- 
half inches more. The diameter of the opening at the 
to]i is little more than the diameter of the bottom. 

Finishing the Top 

To finish the top proceed as shown at A, Fig. 
217. Each sjwke passes back of the one at the right 
and out. Continue until all the spokes extend out- 
Mard. The spokes now all extend outward as shown 
at A, Fig. 217. They are next, each in its regular 
order, passed to the inside as shown at B, Fig. 217. 
Cut awaA' the ends on the inside. 



M, Fig. 220, shows another basket constructed 
very much the same as the one just described, the 
shape being somewhat modified. 

C, D, and E, Fig. 220, are forms used for hang- 
ing baskets. D was made to hold an olive bottle 
and may be used for cut flowers. 

J, Fig. 220, is an interesting little work basket. 
Around the top a wooden kindergarten bead is 
placed on each stake. The weaving then continues 
several times more around and is finished as sug- 
gested in any of the different ways as shown in 
Fig. 217. 

Another Way to Begin Baskets 

Fig. 221 shows a simple and effective way for be- 
ginning a basket. Cut sixteen pieces of No. 3 reed 
and arrange in groups as shown in Fig. 221. First a 
perpendicular cross is formed with two of the groups. 
The other two groups are i)laced between the parts 
of the ]X'r]X'ndicular cross as shown in Fig. 221. Be- 
gin to weave by placing the end of the weaver under 
one of the groups forming the perpendicular cross. 
Continue to weave over and under until once around. 
This weaving may continue three times around, the 
weaver passing over and under the same groups 
each time around, or the course of the weaver may 
be changed each time around. The course of the 
weaver is changed by allowing it to pass under or 




Fig. 221 — Starting with Sixteen Strands 

over two groups. This changing is clearly seen 
in Fig. 221. 

After weaving over and luuler the groups of 
four each group is divided, and the weaver passes 
under and over two at a time as shown in Fig. 222. 
If so desired each group of two may be divided into 
singles and the weaving continued. 

Large Baskets 

H, B, and N, Fig. 220, show baskets somewhat 
larger than the others shown in Fig. 220. 




Fig. 222 — Dividing Groups into Pairs 

In all the preceding baskets the spokes were 
cut long enough to complete the basket. 

In A, B, and X, the spokes are cut long enough 
to make the bottom only, as shown in Fig. 223. 
When the bottom is completed two spokes are in- 
serted, one at each side of each single spoke as shown 
in Fig. 224. This doubles the number of spokes 
used in making the bottom, thus giving added 
strength to the completed basket. 

After the new spokes have been inserted the 
weaving continues a couple of times around before 



turning upward. The spokos now become stakes. 
Baskets A and B have curved sides. This is ac- 
comphshed by allowing the stakes to flare while 
weaving and keeping an even tension on the ^^•ea^■er 
as the weaving ])rogresses until the desired curve 
is \\o'\en in. After reaching the top of the basket 



other i)ieces of reed are inserted by the sides of the 
stakes. 

There are now two reeds in each jjlace insteatl 
of one. 

To finish the top allow one i)air to ]mss behind 
the one next to it and then to the outside of the 




Fig. 223 — Inserting New Spokes 



Fig. 224 — Dividing New Spokes 



13 




Fig. 225— Finishing Top of Basket 



Fig. 226 Finishing Bottom of Basket 



ba.sket a.s shown in Fig. 225. Tliest' cikIw are long 
enough so that each is tied to the bottom of the 
basket. This is best accomphshcd Jjy using a darn- 
ing needle threaded with a piece of string. Begin 
to sew the ends down by allowing the needle to come 
from the inside of the basket next to a stake, over 
the pair turned downward, pulling it close to the 
stake. The needle now comes out next to the fol- 
lowing stake, over and then in. This is continued 



until all the pairs have been sewed down. Fig. 225. 
With the pair in the i)osition as shown in Fig. 225 
one end of a new weaver is inserted and the weaving 
is continued around the pairs as shown in Fig. 226. 
The bottom of the basket is finished the same as the 
top is usually finished. Fig. 226. 

F and G, Fig. 220, are two fruit trays started in 
the way just described. The weaver passes under 
and over two stakes each time instead of one. To 



finish tlic top follow the i^lan as shown in Fig. 225. 
Two stakes pass behind two and then out and down, 
the spokes being cut long enough to do this. Each 
])air of stakes making the border is tied at the bot- 
tom to keep it in place. These ends at the bottom are 
treated as the si)okes of a basket. With a new weaver 
weave around the bottom several times. This weav- 
ing and the finish make a standard on which the tray 
stands. Finish the bottom as shown in Fig. 226. 
When all is finished the string used in tying is cut 
away. 

Handles 

The handle forms a very important jiart of the 
basket upon which it is built. It must be con- 
structed correctly, in order that it may add beauty 
and utility to the basket, and possess strength it- 
self. We have tried to show in Fig. 227, as clearly as 
possible, the successive steps in the making of a 
twisted handle. In explanation, let us add, that only 
that part of the basket which influences the making 
of the handle is shown in the illustrative steps in 
Fig. 227. 

It must be kept in mind, that the ninnber of 
times the weaver t\\ists around the foundation reed, 
de])ends entirely upon the diameter of the semi- 
circle and the size of the weaver. After a little ex- 
perience in the weaving of handles, one will be alile 



to judge accurately the ratio of the number of twists 
to the diameter of the semi-circle and the size of 
the weaver of different size handles. 

For example, take one end of a piece of No. 4 
reed and insert it l^etween two spokes of a basket as 
shown at 1-A, Pig. 227. The other end of the reed 
is then curved over and inserted between two other 
spokes about three or four spokes away from the 
two spokes first mentioned, as shown at 2-A, Fig. 227. 
This semi-circle forms the foundation upon which 
the twisting is done. 

A jjiece of No. 2 reed soaked in water until 
very pliable is now inserted to the left and alongside 
of the right hand side of the foundation reed as 
shown at A, Fig. 227. This reed is now twisted around 
the foundation reed three times, coming to the out- 
side of the basket as shown at B, Fig. 227. 

It is now put through to the inside of the basket, 
outside of the left hand side of the foundation reed, 
and about three, four or five strands below the border, 
or just below the border, and then brought up and to 
the outside just below the first twisting. From here 
it follows the first twisting back to the starting point. 
Be sure to keep the weaver beside the first twist. 
Do not let it cross the first one but keej) it beside 
the first at all times. It now goes to the inside of 
the basket and is ])ut through to the oulside, to the 





Fig. 227 — Steps in the Wrapping of a Handle 



riglit of the risht hand side of tlic foundation reed 
and is brought u]). This course can be easily fol- 
lowed in C, Fig. 227. 

From here the weaver is twisted to the left, 
beside the first two twistings, until it again reaches 
the left hand sid(> of the handle. It is then placed 
thi'ough to the inside of the basket to the left and 
alongside of the weaver already there, instead of to 
the right of the weaver already there, as one is apt 
to do when learning. At D, Fig. 227, this step is 
shown very clearh-. 

The weaver is then twisted l)ack beside the 
others to the right hand side of the handle to the in- 
side of the basket, and then to the outside to the 
right and along side of the weaver already there as 
shown at E, Fig. 227, remembering that it goes 
to the right, not to the left, of the weaver already 
there. 

It is now twisted back beside the others, until 
it reached the left hand side of the handle to the out- 
side of the basket and then it is i)laced through to the 
inside to the left of the other two as shown in F, 
Fig. 227. 

From here it is twisted back to the right hand 
side of the handle to the inside of the basket and 
put through to tlie outside to the right of the other 
two as shown in (J, Fig. 227. 



It is now twisted back for the last time to the left 
hand side of the handle; the end is pushed in between 
the front and back weavers, and is cut off. The 
handle is then com])lete as shown at H, Fig. 227. 
It now has the apjiearance of a tightly twisted piece 
of rope. 

Covered Forms 

Very often good pottery forms may be secured 
at an unusually low price. The decoration, however, 
is so atrocious that one hesitates to make a purchase 
even at the lowest price. 

By using reed, good forms may be covered, thus 
eliminating the unattractive features. 

In Fig. 231 are shown several pieces covered as 
above mentioned. The sandwich plate is not in- 
cluded in what might l)e called iioor art. 

To Cover a Sandwich Plate 

At any department store may be found plates 
of good English prints. Among the most common 
are the Indian Tree and Parrot plates. These when 
covered, as shown in Fig. 231, make most attractive 
sandwich plates. 

To cover the ])latc proceed in the following way: 
On a piece of pine board draw a circle having a 
diameter equal to the diameter of the bottom ring 
of the i)late. 





Fig. 228— Starting the Weave 



Fig. 229 



The plate itself may be })laced on the board and 
drawn around, thus securing the circle retiuircd. 

Cut 12 i)ieccs of No. 2 reed, each 16 inches long. 
Soak in warm water. When sufficiently pliable, bend 
each piece of reed at the center, and thumb tack each 
to the board on the circumference of the circle just 
dra^^'n. See A, B, and C\ Fig. 228. When all are 



tacked, with a number 1 reed weave around the 
entire circle, using the pairing weave. 

Weave several more times around as shown in 
Fig. 229. The spokes are now crossed as shown in 
Fig. 229. A space is left and the pairing weave again 
is used once around. The weaving is done as the 
spokes are crossed. From this point the single weave 



may hv used hut not until Fig. 229 is removed from 
the board and tied to the plate. The remainder of 
the weaving is done over the plate. 

Fig. 230 shows the underside of the finished plate. 




Fig. 230— Outside of Plate 

In Fig. 231 may be seen the ui)i)er side of the 
finished plate. 

The top is finished by using any one of the closed 
borders shown in Fig. 227. The handle is simply a 
four strand braid, using eight strands of reed but 
using them in pairs. The looped ends seen in Fig. 



230 show the way the handle is fastened to the 
under part of the plate. 

Vase Form in Fig. 231 

The tall vase form shown in Fig. 231 may be 
covered, or the beginning may be the same as when 
starting a basket. When a diameter is woven 
equal to the diameter of the bottom of the vase it 




Fig. 231 — Finished Covered Forms 

is tied to the vase and tlu> weaving is done ai'ound 
the form. 

The Bowl in Fig. 231 

To cover a bowl proceed as when covering the 
sandwich plate. To finish the top use any closed 
hnish sho\An in Fi"-. 227. 



The Melon Shaped Basket 
The most interesting of all baskets to construct 
is the melon shaped basket, because of the different 
steps involved in its method of construction. The 
foundation upon which this l^asket is built is two 
rings. These rings may be either purchased in the 
form of fancy work hoops, or they may be made of 
heavy ash splints. If they are to be made of the ash 
splints, take two straight pieces of the ash splints 
about 3 1-7 times the desired diameter of the basket 
plus one inch for lap and with fine wire, iron fasten- 
ers, or fine string, fasten them together to form the 
two rings. 

At A, Fig. 232, is shown the position in which 
these two rings are placed so that they are per- 
pendicular to one another. If the half ring that is to 
form the handle looks shabby it might be improved 
by wrapping a winder about it. 

The weaver is placed behind the vertical ring 
parallel with the horizontal ring, one end extend- 
ing beyond the vertical ring about one inch as 
shown at 2-A, Fig. 232. Then bring the other 
end over and diagonally across the vertical ring 
from 1 to 4, and then behind and straight across 
the horizontal ring from 4 to 2 as shown at A, 
Fig. 232. 



Now place the strand over and diagonally across 
the vertical from 2 to 3 and behind and straight 
across the horizontal from 3 to 1. This position is 
shown at B, Fig. 232. 

Then take the strand over and diagonally across 
the vertical from 1 to 4 and bring it behind and 
straight across the vertical from 4 to 3 as shown at 
C\ Fig. 232. 

The strand now travels over and diagonally 
across the vertical from 3 to 2 and back to its 
original ])osition at 1 as shown at D, Fig. 232, by 
])assing liehind and straight across the vertical from 
2 to 1. 

The foregoing method of wrapping rci)eats it- 
self by going over and diagonally across the vertical 
from 1 to 4, up, behind, and straight across the 
horizontal from 4 to 2, over and diagonally across 
the vertical from 2 to 3, behind and straight 
across the vertical from 3 to 4, u]), over and diag- 
onally across the vertical from 4 to 1, down, be- 
hind and straight across the horizontal from 1 to 
3, up, over and diagonally across from 3 to 2 and 
then back to its original position at 1 by passing 
behind and straight across the vertical from 2 to 1. 
The wrai^ping should be now as shown in E, Fig. 
232. 







Fig. 232 — Foundation of Melon Shaped Basket 



This method of wrapi)ing should be continued 
until four pockets are formed, one at each corner, as 
shown in F, Fig. 232. 

The other side of the rings arc wrapped in the 
same manner as shown in F, Fig. 232, and after 
both are completed the center rib on both sides 
may be placed into these pockets as shown in 
Fig. 233-A. An amateur might attempt to place 
all the ribs in at one time, but this is too diffi- 
cult to try when learning how to make this basket 
for the first time. 

The ribs may lie made of the stout ash sjjlints 
about Ih times as long as the diameter of the basket, 
both ends of the ribs being tapered to a point; or 
if the ash cannot be had one might use ordinary 
lieavy reed, about a No. 8. If the reed is used a good 
many more spokes must be had than when using 
the ash splints. In shai;)ing the ash splints care 
should be taken that there will be a sufficient space 
between them when ])laced in the basket so as not to 
cramp the weaver. The shape of the basket when 
finished depends entirely upon the shape of the ribs 
used, so that it is very important that the ribs be 
made and placed correctly. 

The single weaving is now commenced as shown 
in Fig. 233-A. After three or four rows are woven 




A Fig. 233 B 

at one end, weave three or four rows at the other 
end, thus fastening the ribs at both ends. 

This method of weaving, that is, first at one 
end and then at the other, must be kept up through- 
out the entire construction of the basket, finishing 
the weaving at the center. 

Now when the three or four rows are woven at 
each end we place into the ]:)ockets the other four 
ribs as shown in Fig. 233-B, with the excejition that 
we ]ilace the ribs only in the pockets on one side of 
the basket. This makes it easier to continue the 
weaving, for while one is weaving at one end the ribs 
are continually coming out of the other end. 

After four or five rows of weaving have been 
completed at the end into which the ribs were placed, 
the other ends of the ribs may be ]ilaced into the 




Fig. 234— A 

pockets Oil the other side of the bask(>t, and tlie 
weaving done the same, as on the first side of the 
liasket. The weaving is then continued first from 
one side and then from the other. Fig. 234-A shows 
a partially woven basket done in this way. When the 
center is reached the wearing ends, and the basket 
is complete. 

Fig. 234-B shows a finished melon sha])etl basket. 





Fig. 234 C 

Finished Melon Shaped Baskets 



Reed and Wood 
We come now to a most interesting and useful 
combination, that of reed with wood. There is no 
other coml)ination with wood that gives such a large 
varictj^ of possibihties as reed. 

Serving Tray 

The most simjile problem in this combination 
is that of the serving tray, which is nothing more 
than a slip joint frame, as shown in the working 
drawing. Fig. 235. Holes the size of the reed to be 
used, usually a No. 3, are bored one inch a])art and an 
extra reed is placed in to give an odd number of 
stakes. The weaving is done the same as described on 
the wooden block shown at the beginning of this 
chapter. It is just the plain Aveave, using a No. 2 reed 
until about one inch high. Then the weaving stops; 
the stakes are woven to form any one of the closed 
l)orders shown in Fig. 217, having the ends of the 
stakes come to the outside of the tray. They are 
then cut off flush with the weaving. 

To form the handle bore two holes the size of 
a No. 10 reed about four stakes apart in place of 
the holes in the size of a No. 3 reed, as shown in 
Fig. 235. Then take a piece of No. 10 reed and bend 
it, placing the two ends into the holes just bored. 
When weaving, consider the stakes of the handle 



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SERVING TRyW 



Fig. 235 —Working Drawing of Serving Tray, Seventh Grade 



tlic same as the rest of tlie stakes. To finish off the 
liandle wraj) it with a reed winding. The handle is 
wi'apped before the weaving is l)egini. 

Strips of f inch cove moulding are tacked to the 
inside of the frame. A glass is then cut to size and 
fitted in from the bottom. Under this glass may l)e 
])laeed strips of ta]:)estry, s])lint weaving or water 
color design as shown in the finished tray, Fig. 236. 
A heavy piece of cloth board is tacked over the en- 
tire )x)ttom of the tray, thus holding the glass in 
place. 




Foot Stools 
In Fig. 237 is shown the working drawing of a 
simple reed woven stool. In this stool we use the 
flat reed, which is similar to the ash and hickory 
sj^lints used in the jDreceding cha])ters. The wrap- 
])ing is done over the entire u]5ii(>r rails, and both 
the top and bottom of the seat are woven. This 
makes a very strong and durable seat. Fig. 238 




Fig. 236--Finished Tray 



Fig. 238 —Woven Seat 



show the finished woven top, while Fig. 23S-A shows 
the finished stool. 

Fig. 239 is the working drawing of another 
re(Ml wo\'en footstool. In this stool dowel I'ods are 
used for (lie rails, and there is no weaving on the 



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WOVILN SEAT 



Fig. 237 — Working Drawing of Woven Seat, Eighth Grade 




Fig. 239 — Working Drawing of Foot Stool, Seventh Grade 




Fig. 238A— Finished Stool 

bottom of the seat. Fig. 240 shows the finish- 
ed stool. The legs may be either turned as 
shown in Fig. 240, or tapered as shown in 
Fig. 239. 

Sewing Stands 

Unique sewing stands can be made with 
tlie combination of reed and wood. Fig. 241 
is the worthing drawing of a sewing stand 
with a reed woven basket near the to]) to 
hold the sewing materials, and a drawer 
imderneath the basket to hold the sewing 
tools. It is extremely simple in its construc- 



tion, easy to carry around and a very useful article 
to have in any home. All details of construction arc 
shown very clearly in the working drawing. The weav- 
ing is the same as used in the serving tray, the stakes 
being glued into the wooden block which forms the shelf. 
Fig. 242 shows the comi)leted stand. 




V— ^^v^ 







Fig. 240— Reed Woven Stool 




Fig. 241 Working Drawing of Sewing Stand, Seventh Grade 




Fig. 243 is the ^\■orking drawing of another sew- 
ing stand of a Httle different type. In this the woven 
basket is a unit in itself, made so it rests upon the 
bottom sheh", and so that it can be very readily re- 
moved from the stand. The box at the top may be 
used for the sewing tools. The construction of this 
stand is also very simple, being well within the 
capabilities of the average sevetjth-grade boy. It 
forms a very useful as well as an ornamental piece 
of furniture. Fig. 244 shows the completed stand. 

Fig. 245 is the working drawing of still another 
sewing stand, by far the most interesting of the 
three stands shown. The two baskets are integral 
parts of the stand, having wooden tops and bottoms. 
This reinforces the baskets and makes them more 
firm. The top basket is covered with a hinged lid, 
while the lower one is left uncovered. Instead of 
using the reed for the stakes use the |" dowel rods 
and for the ^\■eaver use the reed winding. To pre- 
vent the corners from drawing in place two dowel 
rods at each corner, one behind the other, far enough 
apart so that the weaver can slip between them. If 
placed correctly only one dowel rod can be seen at 
each corner. The weaver never passes to the inside 
of this extra stake at each corner. The construction 
of this stand is a little more difficvilt than the pre- 
ceding ones and should be confined to the eighth 
grade only. Fig. 246 shows the completed stand. 



Fig. 242 — Sewing Stand 



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5I1W1NG STAND 



Fig. 243 — Working Drawing of Sewing Stand, Eighth Grade 





Fig. 244— Finished Stand 



Fig. 246 —Finished Stand 



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Round I?ced to be wc»er over Oowels 

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Section /l-£i 



Plan ot Prawer 

5I1WING TABLE 



Fig. 245— Working Drawing of Sewing Table, Eighth Grade 



CHAPTER IX 
Textiles and Wood 



Heretofore very little has been done in the 
combination of hand-woven textiles and wood, yet 
there is no combination of materials that gives such 
a large variety of artistic effects as this one. The 
different ways in which this material can be used, 
in combination with wood, are too numerous to 
mention; therefore, we shall take only those simple 
problems which are within the capabilities of a 
sixth-, seventh-, or eighth-grade boy. 

Foot Stool 

The first i)rol)lem that we suggest is that of a 
small foot stool, u])holstered in hand-woven material. 
Fig. 247 shows the working drawing of this unique, but 
simple, little foot stool, and illustrates the wide jjossi- 
bilities for individual design. Here is a problem that 
a whole class can construct, and no two made alike. 
We have given a few suggestions as to how the de- 
sign of the legs of the stool can be altered or enlarged 
upon. The size of the stool itself can be changed with 
l^leasing results by making it longer, lower, or nar- 
rower, so that there is any number of ways of chang- 
ing the design of this stool without losing any of 
its artistic qualities. It is a most flexible problem. 



After the stool is constructed, u])holster it with 
a piece of hand-woven material. This maj' be 
either woven by the boy himself or by the girls in the 
weaving class of the school. Here again are more 
possibilities for making each piece more individual, 
since each piece of material may be of a dififerent 
]:)attern, yet all may be wo\'en from the same thread- 
ing on the same loom. 

This material might be used wherever uj^holster- 
ing is possible, on any of the articles mentioned in 
the foregoing chapters with most pleasing and beauti- 
ful results. A little touch of hand-woven material 
gives to any article upon which it is used a most 
subtle appearance. 

Fig. 248 shows the completed stool made from 
the working drawing shown in Fig. 247. The design 
used for weaving the material used in upholstering 
this stool is one of the many possible ones of the 
Rose Path pattern. 

Waste Basket 

Fig. 249 shows the working drawing of a very 
simple waste basket that any sixth-grade boy 
could build without much difficulty, the only 



Seat to be upholstered 





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FOOT STOOL 



Fig. 247 — Working Drawing of Upholstered Foot Stool 




Fig. 248 —Finished Foot Stool 

difficulty being in ))()ring the lioles at tlie i)ro]ier 
angle. 

Two pieces of cloth are taken the length of two 
sides and the bottom. Hems are sewn at both ends 
so that when the dowel rods are placed through the 
hems and then put in place the cloth will hold the 
basket together. It is necessary to have the cloth 
stretched very tight in order to have the basket rigid. 

Fig. 249 shows the finished waste basket, the 
border around the to]) of the cloth being woven \Aith 
the Rose Path pattern. 

If the tapering of the sides of the waste basket 
seems too difficult, a straight sidcnl sewing basket 



may be constructed as shown in Fig. 251. The 
construction is the same as for the waste basket. 
The design of the hand-woven cloth is another 
possibility of the Rose Path pattern. 

Screens 

There i.s no article of furniture in which hand- 
woven cloth can be used so effectively as in a screen. 
Fig. 252 shows the working drawing of a screen in 
which the panels are of hand-woven material. 




Fig. 249— Finished Waste Basket 





Cloth Side 




J 


5HI o( Mater. al || 




Narne 


l*n^f W.drv. 


rn^Kncsi 1 


A 


Fo'^ra 




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a 


DFods 


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10 J 4 


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1 



waste: basket 



Fig. 250 Working Drawing of Waste Basket 




Fig. 251 — Finished Sewing Basket 

The inner sides of each frame are grooved the 
same as for a wooden panel; a key is made to fit 
loosely into this groove. The cloth is placed over the 
groove, the kej^ is placed on top the cloth over the 
groove, and then is forced down into the groove. This 



make a very good ^^•ay of fastening the cloth to the 
frames. A few finishing nails may be driven through 
the key into the frame to hold the key in place. 

That this comliination makes a beautiful as well 
as useful piece of fiu'niture can be seen from the 
photograph shown in Fig. 253. The cloth is woven 
from the Orange Peel pattern, a border being 
woven at the top and bottom to -break up the space. 

Though the construction of this screen is simple, 
we feel that it should be made as a group problem 
rather than an individual one, the boys to make the 
frame and the girls to weave the cloth. 

Fig. 254 shows the working drawing of another 
very attractive screen of different construction from 
the first one mentioned. In this screen build the 
inside frames, as shown, of any lumber, then cover 
both front and back with the cloth, tacking it along 
the outside edges of the frames. Make the grooved 
strips, as showni, and tack them on the outside edges 
of the frame, covering up the edges upon which 
the cloth has been tacked. This gives a very neat 
and effective finish to the screen, since all of the frame 
that shows is the little grooved moulding on the 
outside edges. 

Fig. 255 shows how attractive this kind of a screen 
can be made to look by just using strij^s of hand- 
woven cloth, embroidered with rojje silk. Observe how 
beautifully the panels are broken by skilful designing. 






V 
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SORE. UN 



Fig. 252 -Working Drawing of Screen 




Fig. 254 — Working Drawing of Screen 



Looms 

The following cuts sliow tlie 
working drawings for both the Dan- 
ish and Swedish looms. If light 
work only is desired, then the Danish 
loom shown in Fig. 259 is the loom 
to construct. Fig. 260 shows the 
front working drawing. Fig. 261 
shows the side and Fig. 262 shows 
the detail drawings of the various 
parts. Fig. 263 shows the completed 
Swedish loom. If space is available 
this is the loom to have. On this 
loom may be woven very fine articles, 
as well as Colonial rugs. On the 
Danish loom only the lighter work 
can be successfully woven. Fig. 264 
shows the working drawing for the 
front of the Swedish loom. Fig. 265 
shows the side, and Fig. 266 the 
detail drawings. 




Fig. 259- Sketch of Finished Loom 




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Method ol fastening Loom 
tooether ■ 

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Fig. 262 -Working Drawing of Loom —Details 




Fig. 263— Sketch of Swedish Loom 






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Fig. 264 — Working Drawing of Swedish Loom 



227 



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Fig. 265 — Working Drawing of Swedish Loom 



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MaKe A 



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MaKe e 



Cloth Beam 



Fig. 266 — Working Di awing of Swedish Loom — Details 



Appe 

Lumber Price Table 

To aid the instructor in getting ra]M(lh' tlie price 
of lum])er, we have com])ile(l the tables on th(> follow- 
ing jjages. In order not to have too many of these 
l)lates we have considennl only lumber ranging from 

1 inch to 12 inches in width, 1 foot to 12 feet in 
length and $30 to $100 i)er thousand in \nicv. 

The jM'ices of the lumber have been taken only 
in full numbers, ranging from 3 cents to 10 cents per 
square foot — that is, we consider lumber at $38 per 
M as 4 cents ])er foot, $43 i)er M as 5 cents per foot 
and $75 i)cr M as 8 cents per foot, dropping the 
fraction when less than h and counting the fraction 
as 1 when | or over. 

We need not take into consideration the thick- 
ness of the hmiber, since the price is different for 
each different thickness. 

To illustrate the tables, let us take for exam]ile 
the following i)ieces of wood and find the ])rice of 
each from the tables: 

3 pieces f ".\6"x3' 4" of Oak at $54 per IM. 

4 pieces |"xl0"x2' 3" of Poplar at $40 per M. 

5 pieces l"x7f"xr 6" of Bass at $28 per M. 

2 iiieces I"x3"x5' 0" of Oak at $58 per M. 



229 

ndix 

This will easil}^ revert into the following: 

1 piece I"x6"xl0' 0" at 5c per foot 25c 

1 piece I"xl0"x9' 0" at 4c per foot 30c 

1 piece I"x8"xl2' 0" at 3c per foot 24c 

1 piece I"x3"xl0' 0" at 6c per foot 15c 

Total 94c 

To find the i)rice of a I"x6"xl0' at 5c per foot 
we turn to the table marked 5c, the jirice being in 
the upper left hand corner of each table. The figures 
in the column directly under the price designate the 
length in feet, while the figures in the top row di- 
rectly opjiosite the ])rice designate the width and 
thickness of the boards. 

Go over to l"x6" in the top row and then down 
this column until you come to the row marked 10, 
which means 10 feet in length, and there is the price, 
25 cents. Do the same for the other ]5ieces, using the 
table corresjjonding to the price of the lumber. 

If the stock is over 1 inch in thickness, find the 
l^rice at 1 inch in thickness and then multiply' this 
])rice by the actual thickness. For example, take a 
l)iece I|"x4"x8' at 9 cents per foot. If it were 1 inch 
instead of 1| inches in thickness it would cost 24 
cents, so take H times 24 cents and you will have the 
price, which is 36 cents. This is for use when the yirice 
is given ])er board foot instead of square foot. 



H 


1x1 


1x2 


1x3 


1x4 


1x5 


1x6 


1x7 


1x8 


1x9 


1x10 


1x11 


1x12 


1 


.003 


.005 


1 


1 


1 


2 


2 


2 


2 


3 


3 


3 


2 


.005 


1 


2 


2 


3 


3 


4 


4 


5 


5 


6 


6 


3 


1 


2 


2 


3 


4 


5 


5 


6 


7 


8 


8 


9 


4 


1 


2 


3 


4 


5 


6 


7 


8 


9 


10 


11 


12 


5 


1 


2 


4 


5 


6 


8 


9 


10 


12 


13 


14 


15 


6 


2 


3 


5 


6 


8 


9 


11 


12 


14 


15 


17 


18 


7 


2 


4 


5 


7 


9 


11 


12 


14 


16 


18 


19 


21 


8 


2 


4 


6 


8 


10 


12 


14 


16 


18 


20 


22 


24 


9 


2 


5 


7 


9 


11 


14 


16 


18 


20 


22 


25 


27 


10 


3 


5 


8 


10 


13 


15 


18 


20 


23 


25 


28 


30 


11 


3 


6 


8 


11 


14 


17 


19 


22 


25 


27 


30 


33 


12 


3 


6 


9 


12 


15 


18 


21 


24 


28 


30 


33 


36 



H 


1x1 


1x2 


1x3 


1x4 


1x5 


1x6 


1x7 


1x6 


1x9 


1x10 


1x11 


1x12 


1 


.003 


1 


1 


1 


2 


2 


2 


3 


3 


3 


4 


4 


2 


1 


1 


2 


3 


3 


4 


5 


5 


6 


7 


8 


8 


3 


1 


2 


3 


4 


5 


6 


7 


8 


9 


10 


11 


12 


4 


1 


3 


4 


5 


7 


6 


9 


11 


12 


14 


15 


16 


5 


2 


3 


5 


7 


8 


10 


12 


14 


15 


17 


18 


20 


6 


2 


4 


6 


8 


10 


12 


14 


16 


18 


20 


22 


24 


7 


2 


5 


7 


9 


12 


14 


16 


19 


21 


24 


26 


28 


8 


3 


5 


8 


11 


14 


16 


19 


21 


24 


27 


30 


32 


9 


3 


6 


9 


12 


15 


18 


21 


24 


27 


30 


33 


36 


10 


3 


7 


10 


14 


17 


20 


24 


27 


30 


34 


37 


40 


11 


4 


8 


11 


15 


18 


22 


26 


30 


33 


37 


40 


44 


12 


4 


8 


12 


16 


20 


24 


28 


32 


36 


40 

1 


44 


46 



bi 


1x1 


1x2 


1x3 


1x4 


1x5 


1x6 


1x7 


1x8 


1x9 


1x10 


1x11 


1x12 


1 


.004 


1 


1 


2 


2 


3 


3 


3 


4 


4 


5 


5 


2 


1 


2 


3 


3 


4 


5 


6 


7 


7 


3 


9 


10 


3 


1 


3 


4 


5 


6 


8 


9 


10 


11 


13 


14 


15 


4 


2 


3 


5 


7 


8 


10 


12 


14 


15 


17 


18 


20 


5 


2 


4 


6 


6 


11 


13 


15 


17 


19 


21 


23 


25 


6 


3 


5 


8 


10 


13 


15 


17 


20 


23 


25 


27 


30 


7 


3 


6 


9 


12 


15 


17 


20 


24 


27 


29 


32 


35 


8 


3 


7 


10 


14 


17 


20 


24 


27 


30 


33 


36 


40 


9 


4 


7 


11 


15 


19 


23 


27 


30 


34 


38 


41 


45 


10 


4 


8 


13 


17 


21 


25 


29 


33 


38 


42 


46 


50 


11 


5 


9 


14 


18 


23 


27 


32 


36 


41 


46 


50 


55 


12 


5 


10 


15 


20 


25 


30 


35 


40 


45 


50 


55 


60 



H 


1x1 


1x2 


1x3 


1x4 


1x5 


1x6 


1x7 


1x8 


1x9 


1x10 


1x11 


1x12 


1 


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1 


2 


2 


3 


3 


4 


4 


5 


5 


6 


6 


2 


1 


2 


3 


4 


5 


6 


7 


8 


9 


10 


11 


12 


3 


2 


3 


5 


6 


8 


9 


11 


12 


14 


15 


17 


18 


4 


2 


4 


6 


8 


10 


12 


14 


16 


18 


20 


22 


24 


5 


3 


5 


8 


10 


13 


15 


18 


20 


23 


25 


28 


30 


6 


3 


6 


9 


12 


15 


18 


21 


24 


27 


30 


33 


36 


7 


4 


7 


11 


14 


18 


21 


25 


26 


32 


35 


39 


42 


8 


4 


8 


12 


16 


20 


24 


28 


32 


36 


40 


44 


48 


9 


5 


9 


14 


18 


23 


27 


32 


36 


41 


45 


50 


54 


iO 


5 


10 


15 


20 


25 


30 


35 


40 


45 


50 


55 


60 


11 


6 


11 


17 


22 


28 


33 


39 


44 


50 


55 


61 


66 


12 


6 


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18 


24 


30 


36 


42 


48 


54 


60 


66 


72 



7j^ 


1x1 


1x2 


1x3 


1x4 


1x5 


1x6 


1x7 


1x8 


1x9 


1x10 


1x11 


1x12 


1 


.006 


1 


2 


2 


3 


4 


4 


5 


5 


6 


6 


7 


2 


1 


2 


4 


5 


6 


7 


8 


10 


11 


12 


13 


14 


3 


2 


4 


5 


7 


9 


11 


12 


14 


16 


18 


19 


21 


4 


2 


5 


7 


9 


12 


14 


16 


19 


21 


24 


26 


28 


5 


3 


6 


9 


12 


15 


18 


20 


24 


27 


29 


32 


35 


6 


4 


7 


11 


14 


17 


21 


25 


26 


32 


36 


39 


42 


7 


4 


8 


12 


16 


20 


25 


29 


33 


37 


41 


45 


49 


8 


5 


10 


14 


19 


24 


28 


33 


38 


42 


47 


52 


56 


9 


5 


11 


16 


21 


Z7 


32 


37 


42 


47 


53 


58 


63 


10 


6 


12 


18 


24 


29 


35 


41 


47 


53 


58 


64 


70 


11 


6 


13 


19 


26 


32 


39 


45 


52 


58 


64 


70 


77 


12 


7 


14 


21 


28 


35 


42 


49 


56 


63 


70 


77 


84 



8j^ 


1x1 


1x2 


1x3 


1x4 


1x5 


1x6 


1x7 


1x8 


1x9 


1x10 


1x11 


1x12 


1 


.007 


1 


2 


5 


3 


4 


5 


5 


6 


7 


8 


8 


2 


1 


3 


4 


5 


7 


8 


9 


11 


12 


14 


15 


16 


3 


2 


4 


6 


8 


10 


12 


14 


16 


18 


20 


22 


24 


4 


3 


5 


8 


11 


14 


16 


19 


22 


24 


27 


30 


32 


5 


3 


7 


10 


14 


17 


20 


24 


27 


30 


34 


57 


40 


6 


4 


6 


12 


16 


20 


24 


28 


32 


36 


40 


44 


48 


7 


5 


9 


14 


19 


24 


28 


33 


37 


42 


47 


52 


56 


8 


5 


11 


16 


22 


27 


32 


37 


42 


48 


53 


58 


64 


9 


6 


12 


18 


24 


30 


36 


42 


48 


54 


60 


66 


72 


10 


7 


14 


20 


27 


34 


40 


47 


53 


60 


67 


73 


80 


11 


8 


15 


22 


30 


37 


44 


52 


58 


66 


73 


80 


86 


12 


8 


16 


24 


32 


40 


48 


56 


64 


72 


80 


88 


96 



^i 


1x1 


1x2 


1x3 


1x4 


1x5 


1x6 


1x7 


1x8 


1x9 


1x10 


1x11 


1x12 


1 


1 


2 


2 


3 


4 


5 


5 


6 


7 


8 


8 


9 


2 


2 


3 


5 


6 


7 


9 


11 


12 


14 


15 


17 


18 


3 


2 


5 


7 


9 


11 


14 


16 


18 


20 


23 


25 


27 


4 


3 


6 


9 


12 


15 


18 


21 


24 


27 


30 


33 


36 


5 


4 


8 


12 


15 


19 


23 


27 


30 


34 


38 


41 


45 


6 


5 


9 


14 


18 


23 


27 


32 


36 


41 


45 


56 


54 


7 


5 


11 


16 


21 


27 


32 


37 


42 


47 


53 


58 


63 


8 


6 


12 


18 


24 


30 


36 


42 


48 


54 


60 


66 


72 


9 


7 


14 


20 


27 


54 


41 


47 


54 


61 


68 


75 


81 


10 


8 


15 


23 


30 


38 


45 


53 


6C 


68 


75 


83 


90 


11 


8 


17 


25 


33 


41 


50 


58 


66 


74 


83 


91 


99 


12 


9 


18 


27 


36 


45 


54 


63 


72 


81 


90 


99 


108 



\Qi 


1x1 


1x2 


1x3 


1x4 


1x5 


1x6 


1x7 


1x8 


1x9 


1x10 


1x11 


1x12 


1 


1 


2 


3 


3 


4 


5 


6 


7 


8 


8 


9 


10 


2 


2 


3 


5 


7 


6 


10 


12 


14 


15 


17 


18 


20 


3 


3 


5 


8 


10 


13 


15 


18 


20 


23 


25 


28 


30 


4 


3 


7 


10 


14 


17 


20 


24 


27 


30 


34 


37 


40 


5 


4 


8 


13 


17 


21 


25 


29 


34 


38 


42 


46 


50 


6 


5 


10 


15 


20 


25 


30 


35 


40 


45 


50 


55 


60 


7 


6 


12 


18 


24 


29 


35 


41 


47 


53 


58 


64 


70 


8 


7 


14 


20 


27 


33 


40 


47 


53 


60 


67 


73 


80 


9 


8 


15 


22 


30 


38 


45 


53 


60 


66 


75 


83 


90 


10 


8 


17 


25 


34 


42 


50 


58 


67 


75 


84 


92 


100 


11 


9 


18 


28 


37 


46 


55 


64 


73 


83 


92 


101 


110 


12 


10 


20 


30 


40 


50 


60 


70 


80 


90 


100 


110 


120 



INDEX 



Abbreviations: (w. d.), working drawing; (ill.), illustration 



AKcrnatp mctliod of Ijcjiinniufj u haskft, 189 
Ash splints, (if) 

Baskets, splint, (iti, (i'.l; (designs), 68, 70 

eireular splini and raffia, 69 

s|)lint and rallia, 71 

fireplace, 76, S2; t\\. d.), S3 

hanjjiiif;. (w. d.), 'J.'i, 1S9 

large, 190 

melon shape, 198 

rush, 69 

sewincr, 85; (w. d.), 94 

waste, eaned, 127; (w. d.), 130, 134 

work, 189 

(See Heed Baskets) 
Basket rovr-r, 71 
Basket. Hnisliing hiittoni. 192; (ill.). 192 

fiiiisliiiiji; lo|), 191 

handles. 193 

reed. 18.5 

weaving, in.serling sjiokes, 190 
Bed, doll, (w. d.), 21 
Binding, cane, 114 
Bird, feedery, (w. d.). 31 

feeding table, (w. d.), 31 

feeding ear, (w. d.), 31 
Bird Houses, 28 

martin, Iw. d.), 39 

woo.lpeeker, (w. d.), 41 

wren, (w. d.), 27 

wi-en, (w. (1.), 41 
Boards, bread, (w. d.), 9 

bread cooling, (w. d.), 24 

cake, (w. d,), 10 

game, (\v. d.), 11 
Borders, reed, 1.81 
Bowl, covering with reed, 197 
Bread board, (w. d.), 9 
Bread cooling boanl, (w. d.). 24 
Book trough, (w. d.), 29 
Borders, closed, reed, 184 
Box frame, for upholstering, 169 
Braiding raffia, with splint, 67 

16 



C^ake board, (w. d.), 10 

Candle sconces, (w. d.), 58 

Candle sticks, (w. d.), 32 

Cane, equipment for weaving, 102 

Cane, markets, 102 

('aniiig needle, 103 

Caning, 101, 105 

binding, 114 

(■(imbinatinn fool stool and bnx, 
(ill.), 123; (w. d.), 124 

chair, 140; (ill.), 141 

fastening end, 108 

fernery, 103; (w. d.), 104 

fern stand, (w. <1.), 125 

foot stool, 119; (w. d.), 120, 122 

four step, 115 

hall mirror, 127; (w. d.), 126 

leg rest, 127; (w. d.), 135 

magazine rack, 115; (w. d.), 118 

morris chair, 127; (w. d.), 137 

sewing table, 127; (w. d.), 129 

six ,ste])s, 105 

tea table, 133; (w. d,), 139 

trim for, 115 

waste basket, 127; (w. d.>, 131), 134 
Chair, doll, (w. d.), 20 

morri-s, 127; (w. d.), 137 

porch, hickory splint, 161; (w, d.), K)! 

rush seated, (w. d.), 155 

telephone, (w. d.). 44 
Chair caning. 140; (w. .1.1. I II 
Chair seat, wiaiijiing nt rush. 1 II 
Chip carving, l.i: idcsignsi, 16, 17 
Circular s])Iinl ba-kn (u ir,i\-, 69 
(jircular splini and r,iHi;i li.iskct, weaving of 
Cloth and wood, waste basket, 212; (w. d.), 

straight -.sided waste basket, 214; (ill.), 
Clothes line winder, (w. d.), 12, 26 
Colored reed weaving, 175 
Combination foot stool and box, 1 19; (w. d.), 
C'ord, fiber, 144 
Costumer, 43; (w, d.), 42 
Cover, splint and raffia basket, 71 
Cradle, (w. d.), 22 
Cushion, for morris chair, 171 

239 



215 
216 



Cutting gauge, for s|ilinl, 66 
Cutting splints, 66 

Danish loom, 221; (w, d.), 222, 223, 224 
Designs, chip carving, 16, 17 

metal work, 57 

splini trays and baskets, 66, 69 

stationerv holders, 18 

taborel, 35 
Desk, writing, 55; (w. d.), 54 
Diagonal weave, 73, 74, 76, 81) 
Doll, bed, (w. d.), 21 

chair, (w. d.), 20 
Double reed weaving, 175 

Electric lamp, 49; (w. d.), 48 
Equipment, for weaving cane, 102 

Feedery, feeding table and feeding car. 

(w. d.), 31 
Fernery, 103; (w. d.i, 101 
Fern stand, (w, d.), 125 
Fiber conl, 144 

splicing, 145 

seat top, 153; (ill.), 1.54 
Fireplace basket, 76, 80; (w. d.), .S3 
Floor lamp, 51; (w. d.), .50 
Flower and tea pot stands, (w. d.), 14 
Flower box, 80; (w. d.), 88 
Fly trap, (w. d.), 40 
I'^olding table, 55; (w. d.), 52 
Foot stools, caned, (w. d.), 120, 122 

rush seated, (w. d.), 149, 151 

splint, ,80; (w. d.), 86 

uphol.slercd, 212; (w. d.). 213 

ucivcn rce.1, 203 
Form, for bending wood, 15(i 
Four step caning, 11 5 
Frame, for rush seat, 14M 
Framework, hickory sphnt mati'rial for, 1.56 

Game boards, (w. d.), 11 
Games, nine men morris, 8 

solitaire, 7 
(iauge, cutting splint, 66 
Gimp, placing of, 168 



240 

Hairpin receivers and holders, 69 

Hall mirror, 127; (w. d.), 126 

Handles, 193 

Handle, reed serving tray, 201; (w. d.), 202 

Hanging basket, (w. d.), 25 

Hickory splints, 156 

Hickor'v si)lint porch chair, 161; (w. d.), 162 
settee, 161; (w. d.), 160 
settee, woven seat and back , 1 (i 1 ; 

(w. d.), 163 
stool, construction of, 156; (\v. d.), 157 

Irregular seat, rush seating of, 152; (w. d.). 162 

Lamp, electric table, 49; (w. d.), 48 

floor, 51; (w. d.), 50 

table, splint, 85, 89; (w. d.), 90, 97 
Leather, how stretched on box, 171 

how stretched on webbing, 108 
Leg rest, 127; (w. d.), 135 
Looms, 221 

Danish, 221 

Swedish, 225 
Lumber price tables, 229 

Magazine rack, caned, 115; (w. d.), US 

splint, 85; (w. d.), 93 
Markets, cane, 102 
Martin house, (w. d.), 39 
Materials, upholstering, 165 
Mats, reed, 176, 185 

reed and raffia, 185 
Melon shaped basket, steps in making, 19S 
Metal work, processes of, 56; (designs), 57 
Morris chair, 127; (w. d.), 137 
Moulding of serving tray, 203; (w. d.), 202 

Newspaper tray, (w. d.), 99 
Nine men morris, 8 

Overcasting, of circular splint and rafli;i 
basket, 69 
reed, 181 
reed weavers, 182 

Padding, ujiholsterv, 169 

Pairing, reed \vc:ive, ISl; (ill.), 183 

Paper weaving, 73 

Pen and ink stands, (w. d.), 13 

Plant stand, (w. d.), 88 



INDEX Continued 

Plate rack, (w. d.), 30 

Porch chair, hickory splint, woven seat and 

back, 161; "(w. d.), 162 
Pottery forms, reed covered, 195 
PROBLEMS, SIXTH GRADE, 

bird house, 28; (w. d.), 27 

bread board, (w. d.), 9 

bread cooling board, 24 

cake boards, (w. d.), 10 

chip carving, 15; (designs), 10, 17 

cloth and wood straight sided basket, 214 

clothes line winder, (w. d.), 12, 20 

cradle, 22 

doll bed, (w. d.), 21 

doll chair, (w. d.), 20 

flower and tea pot stands, (w. d.), 14 

game boards, (w. d.), 11 

hanging basket, (w. d.), 25 

pen and ink stands, (w. d.), 13 

sink drain, (w. d.), 23 

waste basket, (w. d.), 215 
PROBLEMS, SEVENTH GRADE, 

book trough, (w. d.), 29 

caii.lli' sconces, (w. d.), 59 

candle sticks, (w. d.), 32 

fceilcrx', feeding table and feeding car, 
(w.'d.), 31 

fireplace basket, (w. d.), 83 

fly trap, (w. d.), 40 

fernery, 103; (w.-d.), 104 

magazine rack, 85, 115; (w. d.), 93, 118 

magazine stand, caned panels, (w. d.), 1 18 

martin house, (w. d.), 39 

newspaper tray, (w. d.), 99 

plate rack, (w. d.), 30 

reed and wood sewing stand, 200; 
(w. d.), 207 

reed anrl wood .stool, 203; (w. d.), 205 

serving tray of reed and wood, 201; 
(w. d.), 202 

shoe polishing stand, 37; (vv. d.), 36 

sled.s, (w. d.), 38 

stationery case, (w. d.), 60 

taboret, (w. d.), 33; (designs), 35 

taboret, splint panels, (w. d.), 84 

telephone directory rack, 89; (w. d.), 100 

upholstering, 165 

waste basket, 73, 76; (w. d.), 81 

wren and woodpecker houses, (w. d.), 41 



PROBLEMS, EIGHTH GRADE, 

chair, rush seated, (w. d.), 155 

costumer, 43; (w. d.), 42 

electric table lamp, 49; (w. d.), 48 

fern stand, (w. d.), 125 

fireplace basket, 76; (w. d.), 83 

fl.M,i- hmip, 51; (w. d.), 50 

flcwcr lidx. ,S0; (w. d.), 88 

folding table, (w. d.), 52 

foot stool, 80; (w. d.), 86 

foot stool, 119; (w. d.), 120, 122 

foot stool and box coiubined, 119; 

(w. d.), 124, 
foot stool, rush seated, (w. d.), 149, 151 
hall mii-ror, 127; (w. d.), 120 
leg rest, caned, 127; (w. d.), 135 
morris chair, 127; (w. d.), 137 
rush seating, 145 
rush seat, (w. d.), 147 
screen, wood and splint, 70; (ill.), 77, 78; 

(w. d.), 79 
seating of irregular seats, 153; (w. d.), 

152, 153. 
settee, hickory splint witli straight 

spindle back, 160; (w. d.), 161 
settee, hickory splint with woven back 

and seat, 161; (w. d.), 163 
sewing basket, 85; (w. d.), 94 
sewing stand, reed and wood, 208; 

(w. d.), 209 
sewing stand, reed and wood, 208; 

(w. d.),211 
sewing table, caned, 127; (w. d.), 129 
smoking stand, (w. d.), 01, 63; (ill.), 02 
stationery holders, 19; (w. d.), 18 
•stool, hickory splint, (w. d.), 157 
.stool, reed and wood, 203; (w. d.), 204 
table lamp, 85; (w. d.), 90, 97 
taboret, 74, 70; (w. d.), 84 
tea table, 80, 85; (w. d.), 90, 91 
tea table, caned, 133; (w. d.), 139; 

wood, (ill.), 140 
tea trays, 85; (w. d.), 90 
telephone chair, (w. d.), 44 
telephone table and chair, 47; (w. d.), 46 
umbrella rack, (w. d.), 64 
upholstering, 165 

waste basket, caned, 127; (w. d.), 130 
waste basket, caned, 127; (w. d.), 134 
writing desk, 55; (w. d.), 54 



(iu:iilni|>lc iccil weaving. ITIi; (ill.), 174 



Ham; 
Uatli; 
Uaflii 
KalK: 
IJalli: 
Kfoci 
Hoed 
Heed 
Reod 
Unci 



Reed 
Hood 



H 

l:rr,l 
lill.-, 
liusll 



L and reed mat, 1S5 

L. liraidint; (if with fi])liiit, 07 

I Slating, \r.i 

[, use in lia.sUi'try, 185 

1 w<iH< liasUcts, 71, 74 

;, rimnd and fiat, 173 

stakes, niimbpr of, 173 

woavcrs, nundjer and character of, 185 

weaving, beginning of, 178 

liaskets, 185 

finishing top of, 189 

overcasting of top, 187 

shaping of, I8f>; (ill.), 188 
covered pottery forms, 195 
bowl, covering, 197 

fruit tray, 192; (ill.), 188 

•sandwich plate, 195; (ill.), 197 

vase, 197 

mats, 170, 185 
mat, material for, 170 
and wood combinations, 201 

sewing stand, 200; (w. d.), 207 

sewing stand, 208; (w. d.), 209 

stool, 203; (w. d.), 204 

stool, 203; (w. d.), 205 

tray, 201; (w. d.), 202 
weaving, closed borders, 184 

colored, 175 

double weaving, 175 

binding to spoke, 178 

overcasting weavers, 182 

pairing weave, 181 

qiiadrniile weaving, 170 

single, 173 

tripl<', 175 

variegated, 170 
raffia mat, 185 

lo(]l. 203; (w. d.), 204 

if splint basket, 200 

seating. 142; irregular seat, 152; (w. (: 
102 

materials, 143 

sources, 142 

splicing and twisting, 145 



I .'ind 



INDEX — Continued 

Hush bask<'t, (i9 

chair, (w. d.). 155 

seat, rectangular, 148; (w. d.), 151; 

wrapping of, 148 
seat, frame for, 143, 140; (w. d.), 147 

Screens, hand woven, 214; (w. d.), 210. 217; 
(w. d.), 219 

splint, 70; (ill.), 77, 78; (w. d.), 79 
Seating, rush, 142 

Serving tray, reed and wood, 201; (w. d.), 202 
Settee, hickory splints and back of straight 

spindles, 101; {w. A.), 160 
Sewing basket, 85; (w. d.), 94 

stand, 206; (w. d.), 207, 208; (w. d.), 208, 
209; (w. d.), 211 

table, caned, (w. d.), 129 
Shoe box, caned, (w. d.), 124 
Shoe polishing stand, 37; (w. d.), :?•) 
Simple upholstering, 165; (ill.), 160 
Single reed weaving, 173 
Sink drain, (w. d ), 23 
Six step cane weaving, 105 
Sleds, (w. d.), 38 
Smoking stand, (w. d), 61, 03 
Solitaire, 7 

Splicing and twisting rush, 145 
SpUcing fiber cord, 145 
Splint, 65 

basket rib, 200 

braiding raffia, 67 

cutting of, 00 

finishing to|) of tray, ()7 

making tray, tiO 

material for hickory, 150 
S])lint weaving, 72, 73; (ill.), 75 

circular basket or tray, 69 

fireplace basket, 70, 80; (w. d ), 83 

flower box, 80; (w. d ), 88 

footstool, 80; (w. d.), 86 

magazine rack, 85; (w. d.), 93 

mat, 185 

.screen, 76; (ill.), 77, 78; (w. d.), 70 

sewing basket, ,85; (ill.), 92; (w. d.), 94 

tabl,' hiinp. s.-,; (vv. d.), 96, 97 

tab..!-,.), 71; w. d.), 84 

tea tabic, .so, 85; (w. d.), 90, 91 

telephone directory rack, 89; (w. d.), 100 

trays and baskets, 66, 69; (designs), 68, 70 



Splint waste basket, 73, 76; (w. d.), SI 

work baskets, 71, 74 
Spokes, how to hold reed, 180; (ill.), I.SO 

length of reed, 181 

sphtting of, 176 
Springs, upholstery, 170 
Square stool, 146; (w. d.), 149 

woven seat, 153 
Squaring up .stock, 7 
Stands, flower and tea pot, (w. d.), 14 

pen and ink, (w. d.), 13 

plant, (w. d.), 83 

fern, (w. d.), 125 

sewing, reed and wood, 208, fw. d 
208, (w. d.), 209; 206, (w. d.), '. 

shoe ])olishing, (w. d.), 3(5, 37 
Stationery case, (w. d.), 60; (ill.), 58 
Stationery holders, 19; (w. d.), 18 
Stock, squaring up, 7 
Stool, hickory sphnt, (w. d.), 157 
Stuffing rush seats, 145 
Swedish loom, 221; (ill.), 225; (w. d. 
227, 228 



Tabic lamps, 85, 89; (w. d.), 90, 97 
Tables, folding, 55; (w. d.), 52 

sewing, caned, 127; lill.l. 12S; fw. d.), 
129 

tea, 80, 85; (w. d.), 90, 91 

tea, caned, 133; (w. d.), 139; plain, 
(ill.), 140 
Taboret, 34; (w. d.), 33; (designs), 35 

weaving of splints, 74, 76; (w. d.), 84 
Tea pot and flower stands, (w. d.), 14 
Tea table, 80, 85; (w. d.), 90, 91 
Tea trays, 85; (vv. d.), 90 
Telephone chair, (w. d.), 44, 45, 47 

directory rack, 89; (w. d.), 100 

table and chair, 47; (w. d.), 46 
Top, finishing of sjiliiit tray and basket, 67 



finishing of circular raffia and splint 

basket, 09 
making .splint, 60 
top of splint, 07 
newspaper, (w. d.), 99 
tea, .85; (w. d.), 90 
and ba.skcts, splint, 60. 09: (designs). 

6.S, 70 
rimming <-aiic, 1 15 



Trav. 



Trav 



Triple reed weaving, 175 
Tension, in reed weaving, 181 
Textiles and wood, 212 

Umbrella rack, (w. d.), 64 
Upholstering, 165 

leather, 168 

materials, 165 

a hard sm-face, 165 
Upholstercfl dining room cliairs, 168 
Upholstered stool, 212; (w. d.), 213 
Upholstery webbing, 165 

Variegated reed weaving, 176 
^'ase, reed covered, 197 

Waste basket, caned, 127; uv. d.), 130 
caned, 127; (w. d,), 134 
sphnt sides, 73, 76; (w. d.), 81 
straight sides, 214 
tapered sides, 212; (w. d.), 215 



INDEX Concluded 

Weave, pairing reed, 181; (ill-)! 1S3 

Weavers, joining of reed, 180; (ill.), 180 

Weaving cane (sec Cane) 

Weaving cane six step, 105 

Weaving, closed borders of reed, 184; (ill.), 184 

colored reed, 175 

diagonal, 73, 74, 76, 80 

double reed, 175; (iU.), 174 

liandle of serving tray, 201 

liickory sphnt stool top, 158 

paper, 73 

jwsition for baskets, 186 
Weaving splint iscc SiiUnt) 
Weaving, (luadrupli- rcid, 176; (ill.), 174 

single reed, 173; (ill.), 174 
Weaving, of splints, 85, 89; (w. d.), 96, 97 

triple reed, 175 

variegated reed, 176; (ill.), 174 
\\'ebbing, ujiholstery, 165 
Webbing, 168 

how placed on springs, 171 



Winder, clothes line, (w. d.), 26 

Wood, form for bending, 156 

Wood and cane (see Cane) 

Wood and cloth screen, 216; (w. d.), 219 
waste basket, 212; (w. d.), 215 
straight sided waste basket, 214; (ill.), 216 

Wood and reed combinations (see Reed) 

Wood and splints (see Splints) 

Wood and textiles, 212 

Wooden forms, for splint baskets, 71 

\\'ooden frame, for upholstering, 168 

WoodjK'cker houses, (w. d.), 41 

^\•ork baskets, 71" 

Wrapping, an irregular frame with rush, 153; 
(ill.), 153 
a rectangular rush seat, 148; (ill.), 148, 150 
a rush chair seat, 144; (ill.), 146 
top of hickory seat, 158 

Wren and woodiiecker houses, (w. d.), 41 

Writing desk, 55; (w. d.), 54 



